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redinbluee · 2 years ago

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The development of Chainsaw Man and Tatsuki Fujimoto's writing (part 1)

Tatsuki Fujimoto is an talented mangaka who has written some of the most amazing works I have ever seen. A lot of people seem to undermine the complexity and seriousness of part one, most likely due to the fact that the story itself contains a lot of straightfoward humour and questionable sexual content that is difficult to be taken seriously... and also how a large portion of his audience are horny emotional trainwrecks who only read his manga to see Makima's ass.

Fujimoto is unafraid to be true and completely honest in his works, creating complex characters and a plot that defies typical shonen stereotypes. The general idea of Chainsaw Man is undoubtedly very shonen, but he has managed to warp his story into something that resembles more of a character drama which I think is refreshing and influential. I sometimes like to think that Fujimoto forced himself to insert the action into Chainsaw Man just to please the majority of the younger manga community while also labelling it as Shonen so it could be published onto a magazine as influential as Jump to recieve worldwide attention. But personally, I feel like Fujimoto does not excel at creating a plot that revolves mostly around fighting, action and adventure which are some of the typical shonen elements that are highly appreciated. In fact, I feel like the pacing and panelling in some early Chainsaw Man chapters weren't executed well. I especially have minor issues with the overly rapid pacing of, for instance- the beginning of Bomb devil arc (where I personally believe that Reze could have become a more fleshed out character despite the fact that she was putting on a facade for most of the arc- extending the period before her reveal by increasing the amount of interactions between Denji and her would heighten the tension even further, allowing her character reveal to be more dramatic and shocking. Not only this, although I love the idea behind the International Assasins arc - it wasn't executed as well as it could have been. It was just too chaotic and fast paced in my opinion, it leaves the reader very confused on their first read due to the lack of explanation and the constantly shifting of perspective in the panelling. Some of the earlier fight scenes in csm were also drawn messily, making it difficult for the reader to visually understand the ongoing action. Finally, I also think that some of the characters were just killed way too early, so early to the point where possible character development was unable to be executed.)

Despite these minor setbacks, Chainsaw Man part one remains to be one of my favourite mangas, not because it is flawless, perfect or anything like that. It was because of the characters. Makima and Aki were remarkable characters that are three dimensional and complex, and was- in my opinion, the characters that were the most interesting and fleshed out. Denji is a character who was meant to be laughed at, but underneath this lies a boy who has lived such a tragic life, you can't help but sympathise with him. I love Chainsaw Man because I have formed a deep emotional connection with it, a feeling completely separate from liking a story due to it's masterful writing and art. Writing characters is an area that Fujimoto excels at, he creates addicting, relatable, beautifully written characters that you simply fall in love with. This is an area that is in desperate need for improvement in works that fall under the shonen demographic. Fujimoto writes great female characters, he surely loves writing women haha. A lot of Shonen works have terribly written female characters who were only made to please the male gaze and add "diversity' to the cast- while female characters in Chainsaw Man are portrayed in a realistic manner, actually driving the story forwards and making impact. After Chainsaw Man part one, the popularity of this manga just continued to skyrocket. Fujimoto went on hiatus, producing Look Back and Sayonara Eri in the process. Below is a section of what Fujimoto wrote in his author's notes in "before csm" addressing his feelings while writing Look Back along with noting down some details explaining his struggles in pursuing art during his early years after the 2011 Tohoku earthquake.

"I went back to volunteer one more time after that. Then I stopped. This was because I was doing oil painting, which gets expensive, and I had to draw manga in order to pay for it. From age 17, that sense of powerlessness has always been following me around. Every time there was another tragedy, my sense that my pursuits serve no purpose at all grew bigger"

"Recently, I drew a manga called Look Back to try and finally vent those feelings. Oddly enough, once I drew it, I think I was able to process them a bit. Looking at this collection of one-shots now, In that state of mind, I remembered a lot of things. Not just that I would draw while feeling powerless, but also that I would draw while really hungry, and how I was always practicing art with my friends. It brought back memories so fun that I have to wonder why I'd only been remembering the dark things. Now I feel glad that I got to have not just Look Back collected in a book, but these one-shots too."

I assume that Look back and Sayonara Eri are works that Fujimoto have always wanted to write- stories that he wrote for himself, not to please his audience anymore (after his immense success in csm, there was no need for him to gain further attention) I'm so proud of him lmao. Part 1 of Chainsaw Man is influential, iconic and an amazing piece of work- but did Fujimoto really like his story? Did he force himself to write Chainsaw man? Part 1 felt rushed, a lot of the story was improvised and messy at times as a result of his crazy work schedule. I sometimes like to think whether the end result of Chainsaw Man was really something Fujimoto wanted to create? What would have happened if he didn't have to please his audience and work under this terrible schedule that influenced his ability to fully express his best work? Fire Punch was a less successful piece that is quite different from Chainsaw Man (which actually appears to be more conventional when comparing it to the obscurity of Fire Punch). Did he try to create a piece of work that appeared to be shonen just so it could be attractive?

"All mangaka wanted to do this job because they love sharing stories and drawing, but when you actually become a mangaka, you realize you need to handle everything alone. When working for weekly magazine, you just don't have enough time. The schedule is too intense, and you need to work as fast as possible. I always end up improvising some things during the inking phase to save time. I'd like to do both the characters and backgrounds myself, but this is so difficult I need to ask my assistants to handle the backgrounds".

This was what Fujimoto said when someone asked whether the suffering of Chainsaw Man's characters actually reflect his feelings:

"I never thought about it, but it's all definitely inspired by my own feelings. It might be the reflection of my daily routine. I work alone for a weekly magazine. It's incredibly difficult, and I don't want my series to get canceled, so I work non-stop".

After Chainsaw Man part 1, we had the opportunity to see two oneshots that were not created under the pressures of time and success. Works that once again, had such lovable, remarkable and raw characters that reflected Fujimoto's talent in character writing along with art that was noticeably more refined, clean and beautiful. In my opinion, these two oneshots exceeded the quality of the entire first part of Chainsaw Man, you don't have to agree- but Fujimoto's development as a mangaka surely is prominent.

This is all for now, follow me for more content like this, I'll upload a part 2 to this where I begin talking about Chainsaw Man part 2!

#csm #chainsaw man #denji #asaden #Chainsaw man #Asa #csm analysis #tatsuki fujimoto #goodbye eri #manga #asa mikata #manga analysis

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starlostlix · 4 months ago

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ANIME REVIEW - Akame Ga Kill!

[This isn't a really formal review it's just fun for me to talk about the show I saw]

Also major HUGE spoiler warning I literally spoil all the character deaths and ending

- Released - 2014

- Episode count - 24 (1 season)

- Watched in - English Dub

This show feels very different from ones I've seen previous. Mostly because it's got much more fanservice aimed at men than any other show I've watched I think. But a general breakdown:

- Plot

So it's a relatively simple plot of a group of assassins fighting against a tyrannical ruler and its supporters. Sometimes the episodes can feel a little off in the pacing. My specific issues with pacing come in dialogue sometimes but it's not a huge issue imo. I also think that the show jumps around a lot plot-wise without spending enough time exploring its theme and more time on its characters or fights, so I think some improvements could be made there really.

I think the plot really gets very interesting with the introduction of General Esdeath and the Jaegers as a parallel to Night Raid. I think it's a very interesting narrative choice and the fights between them are really good (as are most of the fights in general).

A somewhat major issue for me is the way they present some of the romances in the show, specifically General Esdeath's obsession with Tatsumi and Lubbock's feelings for Najinda. These ones just feel kind of uncomfortable a lot of the time. Chelsea's seemingly romantic feelings for Tatsumi that kind of appear out of nowhere before her death are confusing to me really but there are romances that seem good, especially between Mine and Tatsumi. Also I think from the beginning this show is shown to be one of those ones where a large portion of the cast is romantically interested in the main guy anyway so I'm not sure I should be that surprised.

Another issue is that fact that a lot of the time Akame, our titular character, doesn't feel like the main character of her own show (but when she is focused on she absolutely shines I love her). I think some elements of that comes with an ensemble cast but I think it could have been done a bit better.

The role of the Imperial Arms is really cool and I like the variety of abilities they have. The lore behind them is really interesting and I think my favourites are Akame's sword, Kurome's sword, Balut/Tatsumi/Wave's armour, Esdeath's ice powers, Soosano, Mine's gun Pumpkin, and Run's wings (I wish we got to see him use those more). I have to give Ubiquitous' dog one a shoutout for creativity like that thing is insane.

- Characters

The majority of the characters in this show are quite likeable for me at least. Sure there's occasionally some jokes and stuff they do/say in weird or bad taste but not enough to where it's not fun to watch them.

My personal favourites are Akame, Najinda, Tatsumi, Soosano, Mine, Lione, Kurome, and Esdeath. I also lowkey had a bit of a crush on Najinda throughout the whole show but that's not that important.

I was also surprised by Bulat being openly gay in the dub, even if some of his moments felt distasteful (him flirting with Tatsumi specifically). But I don't know enough about the history of queer representation in anime to know talk in depth about that really.

In terms of ones I didn't like, there's not really that many. Prime Minister Honest is the antagonist and so we are meant to dislike him and I very much do. I also found Dr Stylish uncomfortable and his experimental creations kind of creepy (but yet I still think cool writing choices). Sometimes I found Ubiquitous a bit too intense but I didn't hate her for it, it just felt a bit annoying at times. No others really come to mine right now though. There was probably some other more forgettable ones that I disliked but like I said they aren't memorable enough.

I think the choice to make Tatsumi and Wave foils of one another is very cool and I like that about their dynamic. I actually like Wave a lot too and I wish we saw more of him. Another really good dynamic is Akame and her sister Kurome (I love sibling angst, I am a fan of Arcane after all). In terms of the romances Mine and Tatsumi are really cute together and I wish we got to see more of their relationship.

- Chararcter deaths

This gets its own section because frankly it's a pretty key part of the story on its own. Unlike some series, this one isn't afraid to kill characters from time to time. And there's a lot - until only Akame and Najinda are left at the end.

The first death, Shelle, was well done, as was the second with Bulat (I wish he got to stick around but Tatsumi needed to get an imperial arms somehow). The thing in common with the deaths is that they are all made to be impactful and this is shown in different ways for each death.

One death I have to point out for being particularly saddening is Bols. The imagery of him reaching out to his wife and child as he crawls and slowly gets weaker is honestly really heartbreaking (specifically because he is shown to have a very sweet caring side despite his crimes). I think his shyness and caring nature despite his appearance and criminal backstory made me really like him.

Other key ones - Tatsumi in the second to last episode, Lubbock being impaled, Mine passing by Tatsumi's side, Soosano :(, Esdeath (the entire Esdeath and Akame duel is awesome), Kurome (her going in for what looks like a hug from her sister and being stabbed makes me ill), Chelsea's head, etc.

The deaths are generally done pretty well even if sometimes the succession of them is a bit too quick (Bols and Chelsea died in the exact same episode for example).

- Animation

The style of the animation is pretty solid. It looks nice generally and there's the occasional more detailed frames for specific moments to create more impact which I always enjoy.

The character designs are also all very distinct and I really enjoy that, and the ones that are more similar are like that for a good reason (obviously like Akame and Kurome as sisters). Bulat's hair makes me think of Jojo characters (which I haven't seen the show of but i feel like I still know what they look like). The designs of all the imperial arms are also cool (Run's imperial arms is especially underutilised and i'm still kind of sad about it) and make them all distinct.

- Ending

I had heard that this was changed from the original manga ending but i'm going off the anime alone here. This ending sort of makes sense with Akame's character and her journey of carrying the weight of her victims with her (but now that also includes her friends). I think it's also a more realistic outcome of revolution than other shows. I'm happy that Najinda gets more time to be a girlboss even if it's not much. I would have really loved to see where Akame went next but I think it makes sense that we don't see that based on the plot and Akame's character anyway.

- Overall

So generally this is a pretty decent anime. I think it's got good ideas, fun characters and a decent episodic moments. It strikes a somewhat decent balance of fun and sadness for me, and is quite enjoyable overall. To give it a score, i'd probably say a solid 6.5-7/10. (Do not take this in relation to all anime i've only watched like 5 anime series all the way through, this is like a personal rating mostly based on enjoyment really).

[Its my first time trying something like this, since I don't have anyone to talk to about this show (my friend's bf introduced me to it but my friend still hasn't finished it yet) I thought it would be fun to post a review style thing here to talk about it! I may do more of these with new shows or seasons of shows I watch but idk yet. Also this has been in my drafts for weeks so I'm just posting it randomly now apologies if it's not written too well i forgot about it]

#akame ga kill #akame ga kiru #anime and manga #anime #anime review #tv review

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msmsillyarts · 1 year ago

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I'm going home guys enjoy this devious little stinker

So in the first game, My Singing Monsters, there are 5 main natural elements, Cold, Plant, Water, Air and Earth. This acted as the basis for all of the major islands with the exception of ethereal island, which is surprisingly not that important to the lore. However, upon the release of tribal island, it was hinted at that there was a long lost Fire element, because if you got your tribal rank to a certain level, the amber on the island melts to free a Kayna, the single-fire element monster. This is where we get to Dawn of Fire. Dawn of Fire is supposed to take place hundreds of years before the original game, back when the fire element was still perfectly thriving. It also reveals the continent, which is essentially the My Singing Monsters equivalent of pangea. The continent has the clear beginnings of Plant, Cold, Air, Water and Earth island, but at this point they were all connected. The other islands in Dawn of Fire consisted of Party Island, Space Island, Cloud Island, and Cave Island, which you sent your monsters to by levelling them up. Remember these islands, they’ll be important later. For now, we can take note of the fact that in between DoF and MSM, something happened to drive the Fire element to near extinction. We know that the continent at some point splits, and given how there is no actual fire-centric part of it, it can be assumed that without a natural island to call home, the Fire element was unable to survive. Luckily, a small portion of Fire Element monsters took refuge in a large volcano-like structure, which was hidden away from the monster world. It apparently was nearby Tribal Island though, as we see the monsters dig a tunnel into the volcano in order to discover it, and it would explain Kayna being locked in amber outside there. This volcano is of course, Fire Haven. Because Fire monsters have been gone for so long, they are more valuable and harder to breed than in Dawn of Fire. Clearly, even though they had miraculously survived for so many years, the Fire element was unable and is STILL unable to thrive. So the monsters created Fire Oasis in order to create another space for Fire monsters to thrive on. The rediscovery of Fire Monsters caused a ripple effect of monsters going on searches for more islands, knowing now that there was more out there. This is how the Magic Islands are found. The Magic islands are heavily implied to be extremely warped versions of the outer islands from Dawn of Fire. I told you to remember them. Possibly because of being abandoned, some magical source used its energy to meld and craft them to it’s liking, and creating monsters that would be fitting for those islands. AKA, the Magical class of Monsters isn’t entirely natural, and only exists because of this odd source of power. This is why there are no Celestials that represent Light, Psychic, Faerie, or Bone. Speaking of the Celestials, they are extremely important to the story. In DoF, we first see them on Starhenge, a large, ancient structure in the sky that is the home of the Celestials. The Celestials themselves are said to be older than time, basically being the ultimate representation of certain elements. They are essentially gods of their elements. The elements they represent all have constellations that can only be seen during specific months of the year, and this is of course when specific Celestials are most powerful/being represented. The elements represented are the 6 Natural Elements, the 5 Ethereal Elements, and finally Electric, the most powerful element represented by Celestials. Galvana, the actual Electric Celestial, follows this logic of electricity being powerful, and is the de-facto leader of the Celestials. She is also the only one to not appear with significant age, still looking very young despite living just as long as her peers.

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somepunaboutspace · 2 years ago

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Khan overhaul and redesign!

Played the firstborn nexomon game again after 4 years and still definitely adore this game

Except for...that section

Yeah, going through the khan village part of the game could be described as dreadful

It’s so... needlessly racist (I sure do love interacting with confused Native American caricature,ain’t that a blast), almost embarrassingly uncomfortable and if that’s not enough, it’s such a mindfuckingly bizarre, dare I say, grossly cheap narrative and designing choice that I can’t understand why they opted to do that instead of literally ANYTHING else

There is a whole rant about how this portion of the game vexes me endlessly but I’ll save that for perhaps another time.

The village itself I will be referring to as the hidden sanctuary. Catching wind of the reality that Omnicron’s last words to Ulzar was that his spawn had an internalized kill switch that would be activated with their king’s rebirth, a large group of people decided to essentially create a safe heaven from essentially the monster Armageddon. In fear of a possible child of the tyrant surviving, the opted to gradually erase their existence from the eyes of the grant populace. Through the years, members of the sanctuary freely go in and out of their base (a thing the game itself explicitly portrays) to pursue more knowledge and interests to bring back. They aren’t recognizable,in fact none of them have ever been uncovered, a handful even being big names in certain communities (I like to think the healer lady was a well-known doctor that eventually retired and now lives peacefully in the sanctuary with her partner whom she met in med school)

Essentially they aren’t cut off from the rest of the would, the rest of the world is cut off from THEM

Khan himself was born in the village and soon discovered his powers in foresight and communication with those beyond. He is, as Hilda herself described their kind in the abyssals dlc, one of the arcane (gonna make a post of them at some point) and is especially adept at making plant life grow and develop. He is a sage foremost and then an official overseer, both of the sanctuary and the world(?) at large, assigned by Remus when he was the nexolord, though the majority either doesn’t know about him or believe half truths about how he just resides somewhere in the jungle

He has a collection of tattoos framing his upper half portraying the elements (because i thought it looked cool, hush) and his fit consists mostly of earthy colors. He spends most of his time by Ventra’s tree in the heart of the sanctuary but he does tent to venture out once in a while to buy soda and cigarettes by the tourist convenience store in the jungle wearing a pair of crocs,shorts and one of the thousand palmayan shirts that Hilda insists if gifting him because she thinks she’s been funny. Speaking of Hilda, she regularly paints his nails black purely because official art has portrayed him with black nails (ventra boss fight) and you have no evidence to prove me otherwise-

Anyway, obvious disclaimer that the word vomit above is by no means perfect (and feel free to correct me) but anything else functional other than what is currently in place is a step from literal rock bottom

#nexomon #nexomon extinction #character design #character art #fanart #art #fanmade #nexomon khan #overseer khan #Khan village #redesign #my art #but yeah #fucking yikes

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kariachi · 2 years ago

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So, saw somebody else doing a whole ‘what daemons do your OCs have and why’ sorta deal so, for shits and giggles, my major loves.

Marian- Torc, Aldabra Giant Tortoise

Look, sometimes a woman is a tortoise. Patient, sturdy, stubborn, reliable. An old soul who always plans ahead, with a mind that runs like clockwork. A rock in the chaos. And then, you get people who are tortoises, but more. She has a large presence, a matriarch at her heart who walks into a room and you feel it in the air, a quiet pride barely hidden under the stereotypical tortoise humbleness that requires a massive daemon to contain it. Add to that that, for giant tortoises, Aldabra’s are known to be relatively fast and acrobatic, which is a great reflection for the fact that she has the soul of an adventurer and prankster underneath it all. For all she’s reserved and hardworking, once you get her out of her shell she burns for excitement.

Monette- Cadyl, Gelada

Again, sometimes a woman is a monkey. An outgoing and communicative creature, small and unassuming, not as smart as some but enough so, with complex social networks and a tendency to keep groups of partners and associates. She trades in favors like a gelada trade in acts of grooming, thriving in a group and wasting when she’s alone, not afraid to let go of some of her power and control in exchange for a more overall favorable outcome. But like a gelada you can’t let the charm and peaceful exterior fool you, because with cause she’s more than willing to bare her teeth in warning or threat to defend what’s hers.

Allison- Donnie, Austroplebeia cassiae

Why yes, Donnie’s species doesn't even have a common name, just one of so many little-noted stingless honeybees. Allie is everything you would expect from such a creature. Hardworking, loyal, creative, more focused on the whole than on herself. She lives for her family and her community, organizing people, supporting those around her, and standing for what she believes in, no matter the cost to herself. But the stingless portion is important. She hates to lie, and more importantly isn’t made to fight. While she’ll take to it if need be, it’s not in her nature to be on the front lines, and her roles is more in taking care of and lending support to those who can dive into the fray herself.

Dr. Carel- Lana, Northern Flying Squirrel

Though he appears to be scatterbrained, our dear doctor is more intelligent that he first seems, simply hard to understand due to how he flits from project to project that others can’t understand with dogged determination. Not one to run, not one to fight, fine alone but happy in groups as well. His, unique, viewpoint is befitting someone with a gliding daemon, as is the way his mind and feet both wander.

Var/Valko- Tarav, Bluetick Hound

And sometimes a man is a hound dog. Loyal, social, highly active, loud. Or, well, he used to be. He’s nonverbal anymore but still once he opens up you better hope you can read sign at speed because he’s not slowing down or shutting up. He reliable, playful, outgoing, and true to his pack. Adventurous and intelligent, though not a leader in any way. He’s a follower, yes, and one of the best right hand’s you’re going to get.

Irene- James, Western Pebble Mound Mouse

Is pretty much exactly what you’d stereotypically expect from a mouse- shy, a mite timid, but intelligent. She’d working on regrowing the backbone her family stole from her, but she’s polite, respectful, playful, and empathetic. True to James’s species, she’s in her element in groups despite her shyness, a creator at heart, more resilient than she first appears, and without an aggressive bone in her body (or any bones, really, but that’s besides the point).

Jadie- Wira, Ring-Necked Pheasant

Somebody somewhere ordered a prince charming, though I don’t know who. Though not immediately impressive, they have an air of confidence and grace common to male gamefowl everywhere. They’re charming, dependable, affectionate, chatty, and a hardworker, ready to drop everything and dive directly into whatever mess they need to to look out for those around them. Poly as fuck, they spoil and defend their women against all comers without a second thought, taking a fierce pride in them in all their glory, and are also strongly family-oriented, for all that they’ve run off and done their own thing.

#my ocs #i love them all so #they're wonderful #this doesn't go into all the intricacies of them all but it gives a 'why' for their shapes #we've got four mammals an insect a non-avian reptile and a bird #mari monie allie and jadie sort've form a loose quartet in my head #which at least makes sense for mari and jadie since she's literally their boss #dear jadie stop yearning for your boss it doesn't matter how much you lure her to the 'maybe i'll make an exception for butches' side #when she signs your paycheck and owns the house and coop you and your chickens live in #she's a better boss than that

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writings-of-a-hufflepuff · 4 years ago

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Of Academic Interest

Fandom: Indiana Jones

Collection/Series: Tribute to/Part of @alloftheimaginesblog ‘s ‘Secret’s Out’ Saga world.

Pairing: Indiana Jones x Plus Size Female History Lecturer Reader (Glasses are mentioned very briefly)

Writer: @writings-of-a-hufflepuff aka @hufflepuffing-all-day-long

Rating: T

Warnings: N/A

Summary: You’re one of the newest history lecturers and Indiana turns up to watch your open lecture on the Cult of the Beautiful Dead

Notes: I love Angela’s Secret’s Out Saga, i’m happy that I get to send her requests and see the amazing things she writes for it and lately i’ve been getting the urge to write something for the world/au/series.

This is a homage, a tribute, to it, obviously none of this is canon unless Angela says so.

This is set before Indy and the Reader are dating.

All facts come from an essay I did at university on the Cult of the Beautiful Dead, which I also did an hour long presentation on.

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You were relatively new to the history department at Marshall College and were somewhat of a novelty to students and staff alike having only been there for a few months. Being one of the few female professors and on top of that specialising in some more taboo or ground breaking historical takes on the history of gender and sexuality, you had successfully caused quite the stir.

The majority of your colleagues were accepting, happy to have you and generally interested by your studies and research. Despite being relatively new to academic teaching they were supportive, although there was a small subsection of the humanities department who, in typical old man fashion, talked down to you, treated you like a coffee girl and disrespected your expertise. You had taken to stealing their students from their modules and attracting them to your modules instead as a passive form of fighting back.

Students were clamouring to be taught by you, to get onto the list for your modules or to get to see your open lectures. You were the only member of the faculty who talked about the more riveting elements of history such as prostitution, sexualisation, and even ghosts. In comparison to the same lectures on Anglo-Saxon England and the Civil War, you were significantly more interesting to the student population. That did not, however, remove sexism within the student population. While female students actively enjoyed your lectures, got involved more so than in other modules, and felt a sense of comfort in a more female friendly space, you found that a small portion of the student male population tried at every turn to either explain your own specialism to you or to discredit you. You had long since taken to finding it rather amusing, especially when most of those individuals were failing your course.

You had been asked many months ago to prepare an open lecture on the history of surgery and medicine, the faculty head had told you to pick any topic you wished so long as it was well researched and you could put on a good lecture for the student population. For some it might well be their first ever history lecture, for others it was just an addition to their usual workload, nonetheless you’d chosen a topic that was of interest to you and that you felt confident presenting.

Standing before a podium in a large lecture hall, you push your glass further up the bridge of your nose and flick through the pages of notes in front of you to temporarily distract yourself from the crowds of people that were slowly making their way inside and to seats. It was a large hall, one that could hold upwards of 200 people and despite years of public speaking under your belt there was always an anticipation, a sense of nerves, before you began a lecture or presentation.

You checked the microphone on the podium, happy to find it in working order and smiled at a few familiar faces in the front row, some of your students who had apparently decided to spend their free period listening to you talk some more. Checking the time you waited a few more minutes before choosing to start, letting the last stragglers find a seat or for those unlucky enough to stand at the back after all seats were filled. It was a large turn out and you could feel those nerves buzzing in the pit of your stomach as you cleared your throat and picked up your notes.

“Good morning, everyone! Thank you for coming despite your busy schedules to hear me drone on once more about dead people,” Light laughter and small chuckles filled the space as you began, your students looking at each other with a shake of their heads. “Today i’m going to be talking to you about something called the Cult of the Beautiful Dead in Victorian medicine. Specifically surgery.”

You find yourself drifting from the podium, pacing across the stage even as this requires you to speak louder without the microphone. There is a familiar energy in your body that demands you move as you speak, to expend it in some physical way. “The Cult of the Beautiful Dead pervaded the world of art within the 18th and 19th centuries. It has been defined as ‘a subjective fascination with idealised images of the deceased in such a way that permanently embalmed bodies and stable images displace and replace impermanent reality’, but I would characterise it within medical and surgical art somewhat differently.”

You stop briefly, give yourself time to breathe and them time to process your words, in that brief moment your eyes glance across the crowd and spot a familiar face that makes your cheeks warm and your heart stutter. Professor Henry ‘Indiana’ Jones Junior.

Professor Jones was known throughout the history and archaeology department for his digs, his finds, and his immense knowledge, that and his good looks and charming persona. He was friendly, enticing, handsome, and treated you as an equal. While you could not consider yourself friends, you did have a healthy respect and rather decent crush on the man. In fact, the only reason you weren’t friends, you suspected, was your inability to talk around the man without stuttering. He had no reason to be at your lecture, but he’d come anyway, in fact it looked as if he were the only member of the archaeology department present.

You forced yourself to tear your eyes away and continue, “It is the idealised image of the female body on the dissection room table or the surgical bed with her flowing hair, her soft, pale skin, her perfect, unharmed nature and her sexualised passivity which characterises the Cult of the Beautiful Dead within medical art. On your seats you would have found copies of a painting by Henri Gervaux and an illustration by Hasselhorst, I will be talking today about these pieces of art and how they fit in with the realities of the dissection room.”

You move across the stage again, wait as they find out their papers and find yourself looking over at Dr Jones again. He is intent in his observations of the papers in his hands, interested, actively engaged and that is a bigger compliment than anything you think. It would be heartbreaking, you decide, if he were bored by or disinterested in your lecture. While you don’t need his approval, you are an academic in your own right, you do desire it.

You continue on when he looks up, shifting your eyes away quickly, “In the 19th century women were less likely to be patients of surgeons than men and even when they were operated on they were by no means symbols of the Cult of the Beautiful dead. See Before the Operation by Henri Gervaux,” You wait for them to find the print of the painting, “It is a portrait of Dr Pean, a French Surgeon, and depicts the moment before an operation on a young woman and fits into the ideal of the Cult even though the woman is anaesthetised and not dead.”

In this fashion you continue your lecture, moving across the stage discussing the sexualisation of the female body in medical art and the realities of surgery in comparison. You’re highly aware of Dr Jones’ eyes on you as you move across the stage, to the point that you stumble at points in your oration. As time goes on you find yourself relaxing under his gaze, accepting that he is here purely out of interest, not to judge you or pass criticism. His active engagement with your lecture, the notes you can see him scribbling down in a notebook, is rewarding and reassures you that he is enjoying himself even on a topic so far removed from his own studies of ancient civilisations and centuries old artefacts and skeletons.

You reach the end of your lecture, returning to the podium and straightening your skirt, “Are there any questions?”

Hands pop up across the room, but it is one in particular that you are drawn to. You don’t expect him to ask questions, you don’t expect him to have any, but you are a little scared to hear what he has to say. It shouldn’t scare you, this active academic engagement, the meeting of minds, but you so desperately do not want to make a fool of yourself.

“Dr Jones?” You gesture for him to go on and ask and he stands in response. Tugging at the tweed waistcoat and adjusting his glasses on his nose.

He smiles at you as he begins, “Dr Y/L/N,” He addresses you by your title, formal and respectful. You are reminded, once more, that he has never failed to treat you as an equal. Unlike some of the other male professors, “I was just wondering what your opinion was on the eroticisation of death in this period?” You let out a little laugh, for no reason other than a little relief at the ease with which you can answer that question.

“Thank you for your question Dr Jones, well art such as Hasselhorst’s helped to eroticise death in the 18th and 19th centuries, death became equated with beauty, even if the reality of the dissection room failed to live up to the standards of the Cult of the Beautiful Dead. What we see is death portrayed often as a young woman. She is often portrayed as beautiful with long flowing hair, a fair face, a soft pale body, naked, open to the eye and most importantly passive. The dead woman in this period is a passive object, dead, yet sleeping, immortally captured at her most beautiful and unable to object to any sexualisation or objectification. She cannot talk back. Death is an obsession of the Victorians and it’s prevalence in medical art like Hasselhorst’s shows just how deeply connected death, beauty and the erotic became at this time.”

“Do you think we’ve continued that desire for passivity today? The way in which we expect women to act?”

“What do you think, Dr Jones?” You turn the question back on him, eager to hear his opinion, knowing that your own certainly sees the way 1930s society demands passivity from women even if death is no longer eroticised in the same way.

“I think we’ve perpetuated that desire for passivity from women within our society, demanded they hold their tongue, keep themselves in check and in place and as objects of desire, but not too much or else they’re no longer respectable. I think we expect women to be passively sexual, unknowingly so, innocently so, yet they must be attractive else their worth is diminished. An outspoken or intelligent woman is demeaned, pushed out from academics or workplaces. Don’t you agree?”

“I do.” You take a moment, give him a smile before answering the next question and the next and the next. You expect him to leave like many of the other members of the audience once his question has been answered, instead he stays, listens to your responses to each question and pays you rapt attention.

You find yourself even more interested in Dr Jones than you were before. His acknowledgement of the treatment you and other women have faced when attempting to make a name in a career or in academics is refreshing and his engagement with your lecture is enjoyable and endearing. You curse him a little for making your crush, your infatuation deeper simply by coming to your lecture.

You find yourself packing up your notes at the end, listening to the sound of feet leaving as you grab your notes and stuff them into your leather satchel. A tall shadow falls over you as you heft the bag onto your shoulder and you smile up at Dr Jones as he stands before the podium notebook in hand, he folds the glasses off of his nose and pockets them.

“How did you enjoy the lecture, Dr Jones?” You run an anxious hand through your hair and twist your wide hips in a nervous movement, always finding yourself a little flustered when one on one with the man. There’s a part of you that worries about coming under scrutiny from him, the part that has so often been judged in life for your gender, your area of study, and your weight. Years of nasty comments, suggested diets and family obsession with the size of your body had created a paranoia almost, a sense of expectation. You were just waiting for the scrutiny to be voiced.

“It was one of the most interesting lectures I've had the pleasure of watching. You should write a book, it might be a worthy next research project and please call me Indiana.”

“Only if you call me by name. I think we can both drop the doctor? I wasn’t expecting to see you here, I...I didn’t think the Victorians would interest an archaeologist.” In truth the idea of Indiana Jones wanting to learn about people not long dead, a period which rarely requires archaeological excavation and has few true mysteries, had never crossed your mind.

“In all honesty?” There’s a pause as he looks away from you with a charming smirk before turning back to you, teeth showing through his smile. “You interest me. I’ve read all your books, all your papers, every time you lecture I stop at the door and listen. You’re a compelling orator.”

“You listen to my lectures?” You can feel warmth flooding your cheeks, your neck, your ears at his admission. Feel a familiar sense of butterflies flapping about in your stomach. You look down briefly, smiling at the ground before meeting his blue eyes again.

“When I have time, surprised you haven’t noticed me hovering in the doorway. You really are one of the best academics I've ever met.”

“I...thank you.” You’re a little lost for words, you have barely shared more than a few polite conversations with Indiana, too intimidated to talk in depth with him and yet here he is extolling your values and praising you.

“Don’t let Dr Carr convince you otherwise.” He taps his fingers in a rhythm on the wood of the podium, looking away from you and towards the door where you can see the much older Dr Carr standing waiting impatiently for you to leave the room for his next lecture.

“You heard...the other day.” You think back to the argument you’d gotten into with the old professor over his sexist attitude towards you, his constant demeaning comments. You had thought it had been a private argument, but it seems not. You were still rather angry about the whole thing in truth.

“Yeah, look he’s old school. Doesn’t think women should have degrees or PhDs, ignore him. You’re a better academic by far and he’s just angry that he’s been passed over for the chair again. He’s a washed up old academic, he’s only still got a job because the Dean feels bad for him.” He says the last part loudly, on purpose you’re sure, loud enough for Dr Carr to hear and turn a glare on him. You know he won’t say anything to him though, Dr Jones was the university’s prized archaeology professor, he brought in more artefacts than the other’s combined and more students. Dr Carr wouldn’t say a bad word against him. Couldn’t. It was enjoyable to watch the old fuddy professor go red in the face and huff at the doors.

“I don’t know what to say. I...Thank you. I know we don’t...we don’t really talk, but thank you, I. It’s been hard joining the faculty, it’s a very masculine environment and I...it’s nice to know there’s someone in my corner.” You think to your Grandfather telling you that academics would make you barren, cause you to go insane, think to your mother telling you to find a nice husband and settle down, that you should desire the life of a housewife alone. It has been very difficult simply getting this far and to know you have him in your corner, someone in your corner means a great deal, in a new city, a new job, a new career.

“Always.” The two of you stand there in silence, just staring at each other, despite the impatient noises being made at the door by Dr Carr. You grip the satchel strap tighter over your shoulder and tuck your hair behind your ear.

“Would you like to get some coffee?”

“Now?” You don’t have any more lectures for the day, just your office hours later to answer any student questions, but the offer still surprises you.

“Yeah, I don’t have a lecture until later and...if you’re free I have more questions.” He holds up the notebook, little post notes coming out of the side, it’s thick from writings and usage. It flatters you that he’s so interested in what you have to say, in your mind. You think it might be more of a compliment than anything physical.

“So it’s entirely professional then, Dr Jones?” You’re not sure where the confidence comes from to cause the words to fall from your lips, to cause a little smirk to lift at them as you look at him over the top of your glasses. Flirtation is one area you are not confident in, despite it all.

“Well, I wouldn’t say entirely, sweetheart...I’d like to get to know you better.” He’s utterly too charming for his own good you think and too charming for your poor little heart, but despite any concerns you have, any worries about his intentions you still find yourself agreeing. You’ve wanted to get to know him better for so long, too scared to talk to him in more than passing that you can’t let this opportunity pass you by. Refuse to.

“That sounds...lovely.”

“Shall we?” He offers his elbow out to you and you take it, wrapping your arm through his and pulling yourself to his side. He is taller, broader, and warmer than you. He smells woodsy and a little like black coffee and everything about this moment has your heart skipping a beat.

“We shall.”

You take great pleasure in the dissatisfied sneer on Dr Carr’s face as the two of you walk arm in arm out of the lecture hall.

----

Taglists:

@charradelange @belfry-bat @gabile18 @beccaboo929 @trasheater

#plus size reader #secret's out saga #alloftheimaginesblog #indiana jones x reader #indiana jones #indiana jones/reader #female reader #female identifying reader #indiana jones reader insert #indiana jones readerinsert

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havendance · 4 years ago

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More AtLA x Leverage Crossover

Because I still have a lot of thoughts. This is getting closer and closer to something I actually might write the more I think about it. The leverage crew + kids is top tier content and Zuko is prime adoption material. Look, he and Parker would get along great, that’s all I’m saying.

Edit: Now an actual story! Check it out here.

Background:

This takes place vaguely during season 5 of Leverage. Definetly before Eliot gets that haircut.

Zuko gets burned and banished and dumped in the states. Either at a port in boston, or a port on the west coast from which he eventually makes his way to Portland. It’s basically one of those ‘Zuko got dumped in the Earth Kingdom and gets adopted’ fics except it’s America instead of the Earth Kingdom. Nothing changes about the adoption portion. He’s got nothing but the clothes on his back, the knife his uncle gave him, and some money that was gone far too soon.

There’s bending in this world, mainly localized to the four nations. Zuko’s still a firebender. Anyone who’s a bender in cannon is a bender here. The Leverage crew is almost entirely non-benders like the majority of people in the US. Parker, however, has grey eyes and feels most alive when she’s falling, the wind rushing around her. Her bending isn’t conscious, she probably isn’t even aware of it, but she definitely has air in her blood. (Look airbender!Paker is just too perfect to pass up.)

For that matter, there’s also an Avatar in this world. They’re primarily a religious figure, also localized to the four nations. They’re still a master of all four elements, but their main role is that of the bridge between the spirit world and the material world. They haven’t been seen in a hundred years, possibly more, since the massacre of an Air Nomad Temple was the starting incident in what would prove to be a century of tension and intermittent war in the region. Zuko’s quest is still to find the Avatar and it’s just as impossible in canon except a little moreso because of the whole getting dumped in the US with zero resources thing. If you want to regain your honor, find the avatar, Ozai said. Just don’t expect any help.

The Story:

Parker finds him first. She’s out doing what she does for fun which usually involves climbing high buildings and breaking into places, etc. She runs into Zuko who’s doing roughly the same thing. He’s not bad at it either for a kid, so Parker naturally decides to give him some tips. She also ends up scaring him, and well, there’s some running and chasing and in the end she brings him back either to the Brewpub.

Nate and Hardison would like to know where Parker stole this kid from. Eliot sighs and gets him something to eat. Sophie starts fussing over him.

Zuko dissolves a little under Sophie’s mothering. He imprints on everyone after a while but she has a way with people and he imprints on her first and hardest.

He also tells them that his name’s Lee.

It takes Hardison a little while to find out just who ‘Lee’ is. He may be a miracle worker, but the kid has a rather large and fresh burn scar that messes with the facial recognition software and Lee’s a common (and obviously fake) name. Combine that with the fact that the Fire Nation takes the privacy of their royal family very seriously and that the official story of Prince Zuko’s banishment is both highly edited and buried pretty deep and out of the way. All that put together doesn’t really make for an easy search.

Once he’s put all the pieces together though… There’s a video. It’s shaky and low quality but that doesn’t make what it’s showing any less horrifying. The Fire Nation’s suppressing it; it keeps getting taken down nearly as soon as it’s put up, but Hardison still stumbles across it. He actually finds it before he realizes that it’s Lee. He’s curious and gets about halfway through before realizing with growing horror just what’s about to go down and noping out. Later, after he’s gone through about 50 different emotions where at least half of them are some form of anger, he goes back and watches it all the way through, he figures he owes Lee/Zuko at least that much.

Nate has to be talked down from immediately flying Leverage out to the fire nation to orchestrate Ozai’s downfall by the rest of the crew when Hardison shares the story of just what happened to Zuko. They eventually plan to do a long-term plan acting against him (like with Moreau) because everyone wants to make Ozai suffer after what they learned, it’s just facing off against an entire Nation is a big deal, even if they already kind of did it with San Lorenzo.

Anyway, as a result of this, Nate’s plans to steal the Black Book and retire get pushed back. The rich and powerful can wait. This is scary!Nate that we saw in the cross my heart job.

By this point, they’ve basically adopted him and start training him to be just as kick-ass as they are:

Zuko’s good at sneaking, really good. Not as good as Parker of course, but he learns quickly. She teaches him the other aspects of thievery as well and while he isn’t quite as good at picking pockets as he is at scaling buildings and avoiding security, he’s still good.

He also radiates pure fight-me energy. Eliot teaches him how to fight without bending. He also teaches Zuko how to cook, which he does use his fire-bending for. It’s all about the context.

Sophie tries to teach him about grifting but while he can manage reading people he can’t lie to save his life.

Nate likewise tries to teach him plotting but Zuko’s default plan is definitely winging it so they clash there and ultimately give up

Zuko’s less interested in most of the stuff Hardison does, but he is very interested in all of the ways that he does research and ends up helping with that a lot. And if he’s using his spare time to do as much research into the Avatar and his missing mother as he can, well, it’s his spare time.

Nate and Zuko spend a lot of time denying their father-son dynamic. According to them, Zuko doesn’t need a new dad and Nate doesn’t need a new son. It’s inevitable though. Nate may be a drunk bastard, but this is a kid and he was a father once. Also, Ozai sucks.

Zuko and Sophie are theater buddies! They both love the stage so much but can’t act to save their life (on stage at least). They also have wildly differing opinions on what makes good theatre so when they go to plays they have long arguments about what the production did right/wrong afterward.

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cherry-valentine · 4 years ago

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How Black Clover Gets Lady Characters Right

*Spoilers for most of the Black Clover anime (mostly character related stuff, not much in the way of major plot stuff)*

Black Clover is right up there with Gintama in terms of shows that reward viewers for sticking with them through some mediocre early episodes and arcs. When Black Clover began airing, I was excited. Manga readers had been hyping the series up, and it sounded like the next big shounen fighting anime that would take anime fandom by storm. Then I started watching it, and I was immensely disappointed. I found Asta’s constant screaming almost unbearable (to the point that I started muting the tv when it looked like he was about to open his mouth). The early episodes were totally predictable and cliche. The animation was, at times, embarrassingly bad. But I stuck with it because there were a few elements that kept me interested. One was the absolute bangers of opening and ending themes (at one point the thought crossed my mind that they were entirely too good for this show). Another was Yuno, whom I liked from the start. Then there’s the fact that Asta’s magic, or lack of magic, was the one element I didn’t predict a mile away. I honestly expected him to awaken to some super powerful magic early on. Almost 200 episodes later, he is still magic-free. I really did not see that coming. Still yet, I came close to dropping the series several times during those first thirteen episodes or so.

Somewhere around the time they went to the undersea village (I don’t remember the name of the arc), I began to notice that I was actually looking forward to each new episode. It was a gradual change from being at the bottom of my watch list to being near the top. So gradual it took me a while to realize it. The show still had some problems, sure, but it stopped being predictable. Asta talked more and screamed less. More interesting characters were introduced. The fight scenes were exciting. By the time this arc was over, Black Clover had become a favorite. So, if you tried the series and found it boring and annoying, consider giving it another shot. Like I said, it rewards you for sticking with it.

One of the best things about Black Clover, for me, is how it treats its female characters, especially when compared to other popular shounen fighting anime. It is by no means perfect, and I’ll talk about the show’s minor failings in regards to its ladies a little further down. But overall, it does a phenomenal job.

The first thing that struck me about Black Clover’s women is just how varied they are. There’s a surprising range in their appearances, personalities, and skills. And there are lots of them. Far more than a lot of other shounen fighting anime allow. There are five women in the main squad, the Black Bulls, alone. And we see that each squad has several women as well. Then there’s the all-women squad the Blue Roses. This extends to the villains, as well as the non-combatant supporting cast as well.

Speaking of skills, the women of Black Clover are unusually powerful. The two male leads, Asta and Yuno, eventually get “power-ups”, some kind of new form or transformation or whatever. This is super common in shounen fighting anime. What’s not so common, however, is the female lead getting her own cool power-up/transformation. This is what happens for Noelle, and it was such a great surprise. A little side note here: I’ve been watching the series on a streaming site that allows comments, and I was so amazed by the comments on the episode in which Noelle gets her power-up. The (mostly male, judging by their names) commenters were genuinely happy for her! They were proud of her for getting stronger and cheering her on! I didn’t spot a single comment about her looks or how great of a waifu she is (at the time anyway).

But it wasn’t just Noelle that got stronger. Another Black Bulls member, Vanessa, got an interesting power-up of her own, in the form a cat familiar that basically makes her and her teammates completely impervious to harm for as long as her mana holds out (which has saved their lives countless times). Another lady, Grey, has recently (in the anime) demonstrated some shockingly powerful magic that none of her teammates, or even she herself, realized she was capable of. Then there’s Charmy, who was already quite powerful but gained her own powered up transformation that made her strong enough to defeat an elf-possessed Magic Knight captain. If anything, the ladies have received MORE power-ups than the men.

And while we’re talking about powerful women, I have to talk about Mereoleona. If you’ve watched the show, you know exactly what I mean. If you haven’t, just imagine a character who can curb-stomp a powerful villain who is on a higher level than villains that the main characters were struggling to team up against just a few episodes before, who can then take on a whole group of these powered up villains and remain standing, even after losing consciousness, because they’re just that badass. Now imagine that character is a woman. And she’s so terrifying that one of the elf-possessed enemies (her comrades who had their bodies taken over by elves) remarks that his body froze up because, even though he’s controlling it, the BODY ITSELF was afraid of her. Mereoleona is an absolute beast, the kind of character that is almost always male in these types of shows. And the best part? The icing on this badass cake? The only person who was stronger than her, who could defeat her one-on-one, was ANOTHER WOMAN. Noelle’s mother. And a huge part of Noelle’s motivation as a character is becoming strong like her mother.

On the subject of Noelle’s motivation, I really appreciate that it has nothing to do with her crush on Asta. Sure, she likes him, but it’s not a motivating factor in her life and it’s not even really that important to her story arc. Her arc has always been about HER, about becoming stronger, living up to her powerful family’s expectations, discovering the truth about her mother’s death and then about avenging her, about becoming more empathetic to the common people despite being royalty. Noelle’s story is ABOUT HER. And it’s really sad that this is something remarkable, but we’ve all seen the “heroines” with no real arcs of their own, or worse, their arcs revolve almost entirely around their love for a male character (Sakura from Naruto is the most obvious example here but anyone who watches a lot of shounen can no doubt name many more). And Noelle isn’t an exception in Black Clover. Almost all of the women have interesting back stories and character arcs that have little to do with men (or if men are involved, they’re in supporting roles to these stories and very rarely the main subject).

An exception to this is possibly Charlotte, who is in love with Yami and this plays a big role in her story. However, even this is framed in a way that puts the emphasis on her own growth. It’s really about her learning to be honest with her feelings and getting over her own awkwardness around Yami. A big moment for her is when she admits to her squad that she’s in love with Yami, and they’re all eager and excited to help and support her, like the wonderful ladies they are.

Now, as I said before, Black Clover’s depictions of women are not perfect. There are a few issues I consider minor that I need to address. The first is the tendency the show has of making almost all the ladies be in love with someone. A large portion of the women are sporting crushes, though some of them are quite subtle or mainly used for comic relief, it’s still a little annoying that so many of them are in love. Of course, many of the male characters are in love with someone too (including the protagonist, Asta) and there are several female characters who are totally disinterested in romance, so I can overlook this. Another small issue is that, even though there’s more variety than usual in the body types (one female character is fat and another, Charmy, often gets quite pudgy for extended periods of time, plus a few ladies have more muscular builds), a significant portion of them have very large breasts, including two teenage characters (Noelle and Mimosa). It feels a little unnecessary, to be honest. Though to be fair, it’s rare that any of these characters are used for fan service and the camera never really seems to linger on their bodies. Most of them dress fairly modestly and among those who don’t, the more sexy clothes fit their characters and make sense for their personalities.

The last minor issue I have is that we often get the “designated girl fights”. If there’s a female villain, it’s likely that a female hero will be the one to fight her. This isn’t a rule set in stone, because there are plenty of male/female battles, but it happens enough to be very noticeable. Of course, these lady villains are demonstrated to be just as powerful and dangerous as the villainous men, but it’s still mildly irritating.

Those little nitpicks aside, Black Clover is still a shining example of a shounen fighting anime getting its ladies right. The women in the series are well-written, interesting characters with compelling stories. They’re powerful, have wildly varying personalities and motivations, and never feel like window dressing. They’re not just there to be pretty romantic interests. The show does all this very well, and I think it deserves a lot of praise and credit for it.

#Black Clover #Female characters #noelle silva #mereoleona vermillion #text #long post

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opbackgrounds · 4 years ago

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So I read the Ace Novel (Part 2)

I’m going to be level with you, if I hadn’t said I was going to do a write up for the novel, I don’t think I would have finished this one. The first fifty or so pages are terribly boring, and while it picks up considerably toward the end, I don’t think I can recommend it, for one reason and one reason only:

It reads like a freaking wikipedia article. And I hate it.

I described Part 1 of the Ace novel like three separate one shots with the barest hint of continuity between them. That’s not the case this time around, as most of what it covers are events mentioned in the manga: The fight with Jinbe, Ace’s 100 battles with Whitebeard, Ace formally joining the Whitebeard Pirates. Comparatively speaking, that’s a lot of canon material to get through. Consequently, it’s also quite a bit longer than Part 1, about 200 pages.

(some of those pages happen to be longer than others)

(yes this made me literally laugh out loud)

The problem is there is a metic ton of manga recap that has nothing to do with this novel, especially in chapters 1 and 2. This was baffling to me, as it seems unlikely that someone would pick up a One Piece magazine (where the novel was originally published) or a One Piece side story without bing familiar with the manga. Yet concepts like the Four Emperors, Celestial Dragons, and even the Grand Line were laid out in meticulous detail.

I am going to be unfair for a moment and compare the Ace novels to my favorite spin-off series of all time, the Kyoshi duology that takes place in the Avatar universe.

Unlike the Ace novels, they take place several centuries before the main series, so there aren’t a lot of plot details that overlap with the animated series in the way the Ace novels do to the main manga. What is in common, however, isn’t repeated. Nowhere in the two Kyoshi books does she learn the story about Avatar Wan or any of the same lore details that are important to Aang and Korra’s stories. Instead it expands on the world building details laid out in the main series and deepens them.

For example, do you want to know how the Fire Nation royalty got so good at lightning bending, or how the greater Earth Kingdom political landscape works? Read book 1. Do you want to know how the Fire Nation went from a fractured clan system to a strong centralized government or how advanced water bending healing techniques work? Read book 2. It’s exposition that fleshes out the system already in place, rather than retreading what’s already been established.

Part 2 of the Ace novel does this a little bit when it develops the Pirate Code, something that has never mentioned in the manga, and even if it was Luffy’s not the sort of character that’s going to care to adhere to it. The strongest portion of the novel shows Ace going out on a mission on Whitebeard’s behalf, showing some of what it’s like to maintain the vast territories that he keeps under his flag.

But mostly...mostly it’s just recap. Literally the entire Fishman Island backstory is written out in some of the blandest narration I’ve ever read, paragraphs upon paragraphs talking about Queen Otohime and Fisher Tiger and the civil unrest of the Ryugu Kingdom, including but not limited to Vander Decken stalking Shirahoshi and her subsequent imprisonment in the royal tower.

There’s also the wholesale recycling of gags straight from the manga that 1) don’t necessarily work as well in written format, and 2) show no originality or creativity on the part of the author. In my opinion, recurring gags are funniest when a writer can contrive different variations and circumstances around the base joke. Instead we get scenes like this beat-for-beat copy of Ace’s narcolepsy gag in Alabasta, down to using the waitress’s skirt as a napkin

I noticed in Part 1 that the author had snuck some canon elements in, such as Deuce and Ace building Striker—the one man, fire-powered boat he showed off in Alabasta—when I personally didn’t think either of them were smart enough to think up, let alone construct, anything that sophisticated. I didn’t mention it in my previous write up because there are a lot of fans that enjoy those kind of Easter eggs, and it’s a novel that runs on manga logic so it’s not exactly breaking my suspension of disbelief either. It was a minor quibble that didn’t really detract from my overall enjoyment.

But the story of Fishman Island is at best tangentially related to the events of the novel. The only reason Fishman Island is important at all is because Ace decides to burn down Whitebeard’s flag on his way into the New World.

Which brings me to perhaps the most interesting aspect of the novel: Ace himself.

Even in the manga, you can make the case that there are two Aces, the happy-go-lucky, cool, and mysterious older brother of Luffy seen at Alabasta/post-Enies Lobby, and the angsty, existentially depressed young man with daddy issues that shows up during Impel Down/Marineford.

The novel leans much closer to the latter. More than I expected it to. The Ace of Part 2 is hotheaded and a bit of a jackass. Whereas Luffy tends to go after people he has a personal beef with, Ace specifically targets Whitebeard because he was the closest to Roger, and he thinks that defeating Whitebeard will somehow bring him fame greater than his father. He ignores the concerns of his crew and the repeated warnings about how Emperors control vast armies...because of daddy issues. The novel goes out of his way that Ace’s dreams made him better suited to be a Revolutionary than a pirate, and it’s only because of his childhood promise that he became a pirate at all. It wasn’t something born out of true conviction or desire.

Laying it out like that, it might seem like this is a negative, but to me it’s one of the most interesting things the novel has to offer. I thought Part 1 worked best when it acted as a character study for Deuce, Ace, and the marine girl whose name I have already forgotten, focusing on how Ace brought together degenerates unwanted by even other degenerates. The same is true here: Once the exposition dumps are over and the focus returns to the titular character, the author is able to dig a little bit deeper into into Ace’s psyche, and he takes it in a direction I didn’t expect, but was consistent with his manga portrayal.

I just wish I could have seen a little bit more of it.

And speaking of characters I wish I had seen more of, after focusing so much on Deuce and Marine Girl in Part 1, they have a much reduced role in Part 2. In fact, Marine Girl isn’t seen or mentioned even once, which I thought was kind of strange. I guess I don’t see the point in putting so much effort was put into her only for her to be thrown away without even a cameo. Likewise, after spending Part 1 as the principal POV character, Deuce is set aside for Thatch and Teach. Whether that’s a good or bad thing will depend largely on how much you enjoy those individual characters.

I don’t say this often, but these are books that can be judged by their covers. Part 1, Ace is more jovial—the burning flame that attracts others to his greatness—while introducing two major new characters to his journey. Part 2, Ace is grim and angry—the dark, smoldering flame burning with the desire to destroy the system that would have killed him for being the wrong man’s son—while focusing much more on the Whitebeard Pirates and what makes them great.

It’s an interesting contrast, the two sides of Ace’s character as seen in the manga given a little bit of limelight. But damn if it wasn’t tedious to get through.

#long post #opbackgrounds #ace novel #analysis #review

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fluffynexu · 5 years ago

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Astralignment

and the Korribani Calendar System

Before the arrival of the Exiles the native Sith on Korriban had their own system of keeping track of time. Over the years, this became standardized and refined and is still in use by a large portion of the modern Pureblood community. Since the ancient Sith were observant beings of their world, many of the names and symbols reflected their natural environment. All of these aspects go into what is known as a Sith’s astralignment (astro-alignment).

Since the Empire runs on Imperial Standard Time (IST), anything relating to Korriban or any other Imperial world is referred by the local time of that planet.

Compare a year on Dromund Kaas to Korriban:

Dromund Kaas (everything in standard)

24 hours/day

312 days/year

7,488 hours/year

60 minutes = 1 hour

24 hours = 1 day

5 days = 1 week

7 weeks = 1 month

35 days = 1 month

8 months (+4 weeks and 4 holidays) = 1 year

312 (standard)days = 1 year

Korriban

28 (standard) hours/day

780 (local) days/year

21,840 (standard) hours/year

70 (standard and local) minutes = 1 hour

24 (local) hours = 1 day

10 (local) days = 1 week

6.5 (local) weeks = 1 month

65 (local) days = 1 month

12 (local) months = 1 year

780 (local) days = 1 year

This roughly makes 1 Korribani year approximately 2.9 [Dromund] Kaasi years.

Calendars

The days on Korriban are annotated on some versions of the Imperial calendar alongside the standard days.

In this example, names of the days on the calendar reflect the IST. The black numbers indicate the date in IST, the red numbers represent the date of the Korribani calendar. Placement of the Korribani date indicate when that day begins in relation to the Kaasi one.

A. 00:00 is the same for both. B. 00:00 K starts at 04:00 DK. C. 00:00 K starts at 08:00 DK. D. 00:00 K starts at 12:00 DK. E. 00:00 K starts at 16:00 DK. F. 00:00 K starts at 20:00 DK. G. Loops back around and 00:00 K lines up 00:00 DK .

While seemingly complicated to some, most Sith have grown with this system of overlapping calendars and can easily tell the date by the positioning of the numbers in this format.

There are of course, electronic versions where the date is shown simply:

Since the Korribani month is longer than the Kaasi one, the dates will continue through the Kaasi months. These next two pictures show how long 1 Korribani month is in relation to a Kaasi one.

There is also a version of the Korribani calendar that does not overlap with IST. These are used locally on the planet.

The days of the Korribani week were named after major gods from the most widespread pantheon on the planet:

Ahmuriq, from Ahmurn: the creator god.

Marseriq, from Marserha: mother goddess of the Sith.

Bashariq, from Bashara: goddess of passion.

Teraiq, from Teral: god of protection and justice.

Iskarliq, from Iskarln: god(dess) of conflict and war.

Marduriq, from Mardur: patron god of the Massassi and strength.

Rusaniq, from Rusanel: goddess of knowledge.

Zefiriq, from Zefir: goddess of the hunt.

Shumariq, from Shumari: god of the harvest.

Goruiq, from Gorul: the trickster god(dess).

Months

There are numerous constellations in the Korribani sky. Twelves of these mark the months of the year as well as going into the astalignment. The 12 major, monthly constellations all depict local fauna from ancient fables and have certain characteristics that are commonly associated with them.

1. Yuninchâtsutuyok, the jiminat and agzonûboj engaged in eternal conflict. Dedicated, ambitious, and insightful.

2. Qyalatuyok, the qyalak. Calm, sentimental, and inquisitive.

3. Badzuriqatuyok, the badzuriqash. Tenacious, practical, and direct.

4. Kaarjontuyok, the kaarjontû. Spontaneous, contemplative, and observant.

5. Tukatatuyok, the tukata. Loyal, respectful, and staunch.

6. Hatyatuyok, the hatya. Articulate, perceptive, and adaptable.

7. Lomaituyok, the lomait. Disciplined, fearless, and competitive.

8. Dzushatuyok, the dzushaj. Private, calculating, and flexible.

9. Mowhetuyok, the mowhef. Stern, traditional, and ruthless.

10. Dyaltituyok, the dyaltir. Mischievous, studious, and charismatic.

11. Jhan’dikanatuyok, the lost dikana. Creative, sociable, and resourceful.

12. Niqoituyok, the niqoit. Erudite, cunning, and free-spirited.

Years

The years are also represented by local animals. No one, not even Sith scholars or historians, are sure of the origin of how these animals came to represent the years on Korriban’s calendar. It is one of the many parts of Sith culture that have been lost since it is believed this particular record has been passed down through oral tellings.

The years are kept track of in a 6-year cycle with each year emphasizing a likely success for the ones born in that year.

Chiroik - Wealth

Wokinai - Knowledge

Natûsh - Fame

Dzenal - Influence

Litskoj - Power

Sulemish - Longevity

(ie. Those born in the year of the Sulemish will have a long life.) This again factors into a Sith’s astralignment.

In addition to the years, these 6 animals are also used for the hours on Korriban. But time is not conveyed in the same manner as Basic. While in Basic one would simply say “14:25” (or two twenty-five in the afternoon) the Sith have a much more involved way to convey time.

For example: Shyracks screech and return to their caves as the priestess prepares the altar in the hour of the wokinai.

Translates to: 07:15 local time (or seven fifteen in the morning).

As a side note, a few centuries ago Darth Feras domesticated and bred wrats within the Empire. At first they weren’t seen with much interest by her peers. But popular rumor has it that she pointed out her creations embody the physical traits of the yearly beasts.

Eyes - Chiroik

Ears - Wokinai

Body - Natûsh

Hands - Dzenal

Feet - Litskoj

Tail - Sulemish

Afterwards they quickly became a favored pet and companion among the Sith, being seen as an auspicious animal.

While not related to their calendar there is a tradition of being assigned a birth flower. For this, the Sith do not look to their skies but rather, when a child is born the placenta is buried in a pot with 12 seeds. The first of these seeds to sprout becomes that Sith’s birth flower. These 12 flowers are also used in medicine, therapeutic or preventive, for some common ailments.

Serla for headaches.

Roshal for good eyesight.

Nashkir for sore throats.

Atsudqâ for heart health.

Hyaranjat for good digestion.

Mûyoin for muscle pain.

Shasâyar for fertility.

Jûzon for blood circulation.

Ashanin for bone mending.

Qoyo for fevers.

Chisiqsanu for irritated ridge skin.

Kûsk’inti for fatigue and replenishing energy.

The last two parts that go into a Sith’s astalignment are their energies. The weekly energies correspond with 4 classic “elements” of earth, fire, air, and water. While the daily energy simply refers to day or night (d/n) in regards to when the person was born.

Combined with all aspects mentioned in this document, year, month, weekly energy, day (+energy), and flower, one can study a Sith’s astalignment. ex. Darth Vowrawn’s astalignment factors:

The study of these astralignments is a complicated field on to its own while the findings can be very important to some among the Sith. There are specialized scholars who offer their services to the old families so that the “perfect matches” (marriage, business, or otherwise) can be set up.

— — — — — — — — — — — — — — — — — — — — — — — — — — —

aaaaahhhh!!!!!!!!!!!!!!! IT’S DONE. i feel like frodo at mt. doom after the ring is destroyed omg... ;-;

SOOOO. i wanted, and i mean REALLY wanted, to finish this for lunar new year (for pretty obvious reasons lol)...... :,) welp. then i was like “i can do may 4″ lol NOPE. but here we are! still technically sith day? whatever. imma say I Did It. :D

also pls don’t laugh at my stupid drawings. i already know i can’t art. ok??? >,<

special thanks to @snootysith for giving me a bunch of sithy names and words for me to use. c: like y’all... coming up with fake words, that look and sound ok is really HARD (for my dumbass anyway)

other worldbuilding posts that are... sorta mentioned/used in this:

@inquisitorhotpants‘s dk calendar

BOOS! x3

and some other stuff ....

but uh, yea. if you’re wondering “hang on there fluffy... did you really make a big, dumbass zodiac/astrology post??” the answer is...

yes.

yes i did... xU

but also i imagine the ancient sith had a lot of special and important dates for you know... religious things? *shrug* and over the many, many years all of this was passed down and prob altered in some way to fit into modern sith society? idk...

now imma say some things here bc i know For A Fact!!! that ppl don’t go onto original posts to read op tags on this hellsite lol.

and this isn’t me trying to sound like an arrogant asshole... but these are for some common questions that’ll undoubtedly come up:

yes, you can use this in any extent or manner.

no, you obvs don’t have to. ignore it if you want. i’ll be ok lol.

no, i’m not gonna write a long ass book with all the little details on every aspect of all the traits and then assign these things for your character(s). just make something up. that’s what i did here xD (plus my brain is d e a d from this)

yes, this is seen as a mostly(!) tomato pureblood sith thing but obvs attitudes are different between individuals. some are super into it, some could careless and think it’s all fake news, some have parents that care too much about it which is annoying and interfering with their life so they lowkey hate it lol.

no, i couldn’t do a read more bc it wouldn’t look as nice and i worked hard ok? ;-; i apologize for clogged dashes in advance.

i think that’s it? ofc feel free to hmu if you’re ok with a reply that can take anywhere from a few min to 3 business days ^-^;

#swtor #sith pureblood #sith warrior #sith inquisitor #y'all know how surprisingly hard it is to make constellations???#like...#DX #they have to look like the thing and i had to know what that Thing was #but also! have you seen rl constellations??#they don't look like The Thing at all!#so i had to make it kinda abstract? idfk #now if you'll excuse me #i'm off to be a completely unproductive member of the fandom again #:')#worldbuilding #long post

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blackjack-15 · 4 years ago

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Avenge My Twistery Depth — Thoughts on: Trail of the Twister (TOT)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR, CLK, TRN, DAN, CRE, ICE, CRY, VEN, HAU, RAN, WAC

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: TOT, WAC, mentions of GTH.

The Intro:

Let’s talk about Trail of the Twister, shall we? No clever intro, no pun, no sassy statement on the quality (whether lacking or overflowing) of the game…let’s just Talk.

Like I said at the beginning of my WAC meta, TOT is one of two games that doesn’t really fit into a category besides it and WAC demonstrating HER’s growing pains. The world opens (kinda), the characters get a little deeper (kinda) and a few new things are tried with plots and character (to varying degrees of success). Both WAC and TOT — but especially TOT — represent a shift in the tone of the games and their approach. You can ascribe this to a lot of reasons — an aging fanbase, technology marching on, a new writer in the mix — but you really can’t ignore it, no matter if you’re a Classic Games Elitist or a Newer Games Snob (or neither one).

To paraphrase a fabulous song, there’s something there that wasn’t there before.

This is not me saying in any way that TOT is a fabulous — or even moderately successful — game. In fact, it whiffs a lot where WAC hit solidly, which makes playing them one after the other a sort of chore; WAC is weighed down by the knowledge of what comes next (after such a brief respite from games like ICE, HAU, and RAN), and TOT’s repetitive chore list seems even bleaker after the snack shop and secret societies of WAC.

Which is truly unfortunate, because hiding behind the rat traps and the car chases (or drives, if you drive like a normal person in this game) and the endless moon chunk offerings is one heck of a story. Unfinished and beleaguered and (to my suspicions) censored as it is, there is a definite, multilayered, morally ambiguous, honest-to-moon-chunk story in TOT.

Like I said, something there that wasn’t there before.

Playing through the games in order, it seems like the reason WAC is so solid is, in part, because the games before it have so little cohesive story as to be laughable. Playing them out of order will show you that though WAC does come off a little better than it actually is due to the games that came before it, it’s also actually a step-up from a lot of games in the complexity of its plot and characters. At this point in the series that’s about to happen a lot, but WAC is the first real instance where you get it. Like I said, these two games mark a tonal and approach-based shift in the games.

So let’s turn our attention to TOT.

There are a lot of things that bog down this game — it feels sometimes as if you’re simply going through Farmville-esque tasks to get from Point A to Point B — but its plot and characters (save in one large instance) aren’t actually the culprits. Surprisingly enough, we have a mystery here with enough twists, turns, small crimes, and red herrings to make for a perfectly serviceable plot with relatively well-developed (for the length of the game) characters (whom I’ll go into more below).

A huge difference from a lot of the games is that we have a prominent unseen character who isn’t the one who hired Nancy or who is part of the historical background. Brooke’s actions actively move the plot along no matter what Nancy does, and I do like that the world of TOT goes on spinning (as it were) without Nancy driving everything.

You get the sense that Nancy truly was just dropped into the middle of this without having any control over the situation, and that she spends the entire game (or most of it) playing catch-up, rather than being on the scene for the crime(s) or arriving shortly thereafter.

In TOT, this sabotage has been going on for a while — the competition is nearly over, in fact — and Nancy has to actually do some detective work to even get caught up, let alone to try to step a few feet in front of the guilty party.

One interesting thing is what TOT and WAC share: they both feature casts who are only a few years off of Nancy’s age; in WAC, they’re a tiny bit younger, while in TOT, they’re a tiny bit older. Nancy, being Nancy, is much more in her element with the ages of her suspects in TOT than she is with high schoolers — with how much time Nancy spends around people significantly older than her, I’d be shocked if she got along well with high schoolers when she was in high school herself.

As a side note, I know it’s sort of a fandom thing that Nancy gets along well with children, but honestly outside of Lucas, it’s not something we really see (no, I’m not counting pelting Freddie with snow 10 times sans mercy as getting along with children) — and honestly Lucas is just charming, so I see no reason why Nancy wouldn’t get along with him. Generally speaking, kids who grow up the way Nancy has [especially as an only child] are far more comfortable with ‘adults’ — well established, 35/40+ adults, who make up the majority of her suspect pools — than they are with peers or children.

There’s also a great deal of care taken with making all the suspects (mostly) equally likely for a large portion of the game; it’s not until past the halfway point that a suspect (Chase) is cleared due to his confession of a different crime, and even then, he doesn’t really become Nancy’s helper, as is the usual case with cleared suspects. This is actually one of the few games where Nancy doesn’t really have a helper; she relies on herself, the Hardy Boys, and (questionably) P. G. Krolmeister to get the job done.

And speaking of the Hardy Boys…you knew an intro wouldn’t be complete without my mentioning them, hush.

The Hardy Boys are arguably the set piece that benefit most from Nik’s writing (and yes, I’m going to ascribe it to him; he’s the most prominent variable). Don’t get me wrong, the Hardy Boys were great before, but the Nik games are where they start attaining a place of more prominence and solidify their distinct personalities other than “focused killjoy and playful scamp”. In this game, you get more of Frank’s protectiveness (directed towards Nancy) and Joe’s actual sleuthing abilities — not the least of which because this game coincides with that DS Masterpiece “Treasure on the Tracks”.

Oh yeah, we’re going there. It’s relevant.

Treasure on the Tracks, as mentioned, was a game for the Nintendo DS (and the only one, mind you) focusing on the Hardy Boys. In the game (as in TOT), they’re tracking down the Romanov treasure with the help of a surprising ally — Samantha Quick herself. Samantha is under orders (from who, she never says, but a future game makes it obvious) to help the boys find the treasure aboard the royal train that the Romanovs used to own.

And yes, I would have loved that to be a joint Nancy Drew/Hardy Boys PC game, but I’ll push the bitterness aside for the facts. Which are that this game has a rad premise and would have been a very cool addition to the ND series…but I digress. Regardless, that’s what the boys are doing during TOT, so we get little hints to their investigation as well as having them help Nancy out.

I love that the Hardy Boys have an actual mystery that they’re investigating, as beginning with this game we see a lot more of their ‘agent’ side being brought out. It’s nice to feel that Nancy isn’t alone out there fighting against the forces of evil, and gives excuses to have the Hardy Boys in the games more, so I’m a big fan in general. It also helps build them up as investigators; while they offer hints to Nancy a lot, we don’t get to see them doing a lot of spy/detective work, and it’s lovely to be able to see it here.

And I love their sibling banter. It’s obvious that JVS and Rob Jones have a lot of fun with their roles, and it really lightens and enhances any Nancy Drew game that they’re in.

The last interesting thing that I’ll point out before diving into the game itself is what TOT does for the world of Nancy Drew. Beginning with this game, we start the tradition of each game leading directly into the next one; for her help in TOT, Krolmeister sends her to his favorite ryokan in Japan, which leads to her being hired for CAP; her absence and fight with Ned in CAP lead her back home for the Clues Challenge in ASH, and so on and so forth.

It really makes the world feel solid and cohesive, and lets our characters grow and shift and change without making it feel episodic or sudden. The Nancy of SPY is quite different from the Nancy of TOT in how she behaves and tackles mysteries, but her character growth throughout the games in between make it feel right and natural — like actual character growth.

The Title:

As a title, “Trail of the Twister” isn’t bad — it’s got that alliteration that ND books tend to like doing, and makes it feel a little classic. It also gets a play with words in there — you’re tracing the actual trail of the actual twister, and you’re also walking through the evidence left behind (aka a trail) of a twisting plot. Solid, if not exceptional, with its only real detriment being the hilarious acronym (TOT).

The book it’s (loosely) based off of is called “The Mystery of Tornado Alley” which, obvious to anyone with eyes, is a much worse title while telling us the same thing. It also doesn’t apply to the game as much – you’re not figuring out a mystery as much as unwinding the tangled threads of character motivations — and is supremely clunky to boot.

The Mystery:

Called in by P.G. Krolmeister to go undercover, Nancy joins a team of storm-chasers bent on winning a grant for their research — and beating the opposing team that wants the same thing. Nancy begins the mystery by finding a tin box full of cash (payment for an as-of-yet unspecified action) and it spirals from there, putting the not-so-amateur teen sleuth through her paces learning about tornados and storms, taking pictures, and trying her best to keep everyone happy and working towards the money.

It’s not as easy as it sounds, however. There are competing forces at work outside (and sometimes within) the two teams, and the personalities of the storm-chasers that Nancy must investigate mean that no one trusts anyone else. Things continue to go wrong and Nancy chases down the clues until the mother of all tornados hits town, and our culprit takes advantage of the distraction…

I mentioned above some censorship that I suspect went on in this game, and I’ll talk about it here. Given the darker themes of this game and the mentions of death and serious injury (more than most other games in the series at this point), I would say part of the reason why our story is a little more…displeasing, especially by the end, is that HER was really intent on the 10 part of the 10+ rating.

There’s lots to explore — the Ma storyline that goes nowhere, the collateral damage of these tornadoes, the fact that our cast is filled with genuinely unpleasant criminals — and yet it gets glanced over while feeling like the game is building up to it. Like CRE and ICE where I postulated a lot of the attention went to the new engine, I’m going to postulate here that the reason why we have hanging plot threads and injustice at the end (which I’ll talk about later) is that the game was censored by the HER bigwigs to ensure it still fit in a 10+ rating.

As a mystery, like I said above, there’s absolutely nothing wrong here. We’ve got plenty of means/motive/opportunity spread out in our cast (and in the periphery cast, just to keep things interesting), the threads and smaller crimes/wrongdoings/etc. are realistic in scope and in motive to keep them hidden, and it’s the personalities of the suspects that give us our conflict and tension, rather than random “interferences” by the writers. And speaking of our suspects, let’s go to the other area that TOT does (almost) nothing wrong.

The Suspects:

First off is Chase Releford, a junior who took Scott’s class for a science credit who got super interested in the actual work. The team’s handyman, Chase has noticed (and fixed, and fixed again) the equipment acting up, and is being stretched pretty thin in order to keep it all shipshape and in working order.

He’s also one of Nancy’s sources of Pa Pennies, if you wanna spend hours doing circuit boards.

As a culprit, Chase is a great option (which is a sentiment you’ll hear repeated for all of our suspects, never fear). He’s secretly spending his time looking for oil with Pa’s divining rods, which puts two crimes on his conscience (stealing the rods and not working on company time) and helps the team fall even further behind. It’s important to note that for a large chunk of this game, the likelihood of the suspect also hinges on how much they want Scott to fail, and Chase is pretty much the only one without any real anger towards Scott.

The owner of the local general store, Pa Ochs might be a surprising option to put ahead of Chase in order of culprit likelihood/suitability, but I stand by it. Having lost his wife (Betsy “Ma” Ochs) to a tornado (the warning sirens, which were Scott’s responsibility, didn’t go off), Pa alone mans the counter, helping Nancy find everything she needs — for a price, of course.

The price being annoyingly hard to get Pa Pennies. Unless you exploit a glitch.

Here’s where we start with the culprit possibilities that have an actual grudge against Scott. Though not as angry as he could be, Pa is deeply hurt by the loss of his wife Betsy, and has grounds for an axe to grind with Scott. As much as I would have loved to have the ‘friendly general store owner’ be the culprit, it would have been like a mix of DOG’s Emily and FIN’s Joseph (minus the Crazy), and it’s (sadly) best to leave that ground alone without re-treading it.

Frosty Harlow is next up; a second-year grad student in digital media, Frosty got his nickname (his real name is Tobias) from his storm photography and is, well, trying to re-capture that lightning in a bottle.

He also screams like a little girl. So that’s fun.

Like Chase and Pa, Frosty is a wonderful option for a culprit. His crime is selling university property (the video of the storm he and Nancy shot) to an aspiring photographer (who happens to be on the rival team) to help them get a toehold into the business, along with working with Debbie to try to stress Scott into quitting.

What really makes Frosty stand out is that, unlike Chase, Frosty doesn’t feel bad about what he did at all. He also holds far more animosity towards Scott than Pa does, and has a little more…innate anger as a person.

If you haven’t noticed by now, we’re going in order of “worst” culprit option to “best” (and then the actual culprit), and it really says something about how fleshed out these characters already are that we start with people who are solid options to begin with.

Though only appearing vocally and for a few minutes total of the game’s runtime, I’m going to list Brooke Tavanah as our next most likely culprit — in part because, well, she kind of is our culprit. The leader of the rival storm-chasing team, Brooke offered Scott money to sabotage his own team to let her team win the grant — an offer that he takes her up on.

Of course, Brooke isn’t the only one sleeping with the enemy (so to speak) to ensure her team’s victory; her videographer, Erin, is apparently so talentless as to need to buy footage from Scott’s team as well.

Things don’t exactly look great for the Kingston University team — as they can’t really get ahead even through sabotage and skullduggery, and one does wonder if they’d even be able to put the grant to good use. That, of course, is not the point; Brooke wants her team to win, come hell or high…wind…and a little thing like scientific ability isn’t going to stop her.

(Interestingly enough, this is the first of three times we’ll see Kingston University pop up; we meet their alumni again in TMB and DED).

I love that Brooke is guilty, because so often in Nancy Drew games the tendency is to implicate an unseen character and then to have that implication be a poorly done red herring. Instead, Brooke isn’t a distraction, nor a smoke screen — she’s just another piece of the puzzle.

Our last non-Culprit (by the games’ common definition) suspect is Debbie Kircum, a recent PhD graduate who is on her fifth time working with Scott in chase season, and who has gotten a lucrative offer to teach at a university in New York.

Worrying that Scott would let his resentment towards the college hurt their chances in the competition, Debbie leads the conspiracy to stress him out so much that he just quits. I’ll talk more about this later, but it is both one of my favorite and least favorite things about this game. For now, I’ll say that her plan works…but not the way that she planned; for her and lots of other suspects in this and upcoming games, the quote “the price for getting what you want is getting what you once wanted” works perfectly to describe their arcs.

As a culprit, (as Debbie fully qualifies as a culprit), Debbie certainly has the shortsightedness and nastiness that Nancy Drew culprits tend to have. She’s extremely good at getting what she wants…but see the quote in the previous paragraph.

She also over-contours her cheeks so much that it looks like someone slapped her with an open compact of bronzer.

That takes us to our final culprit and character, Scott Varnell, genius professor of meteorology and the leader of the Canute team. Scott is my personal favorite character not just because he’s the most interesting, but because he’s a tragic figure who isn’t historical/dead, and those are a bit of a rarity in Nancy Drew games, especially at this point.

Being an expert on tornadoes yet denied tenure based on his personality, rather than his academic prowess (a gripe I share as it applies to jobs/academia), Scott holds a grudge against those who don’t recognize his contributions to meteorology and to the study of tornadoes specifically. Unbeknownst to him, two members of his four-man team have been conspiring to stress him out so badly that he’ll just quit, as they think he’ll be a hindrance (again, due to his personality) in winning the competition.

Scott is in some ways the obvious option, and yet the game never turns into a howdunnit. Throughout the mystery he tends to be the prime suspect, but is also the prime victim — a dichotomy we’ve never seen before in the Nancy Drew Games. I’ll talk more about Scott below (a sentence increasingly common in this meta), but I both love and hate him as the culprit, and that’s something new (and interesting) that TOT brings as well.

The Favorite:

Don’t worry, we’ll get into TOT’s myriad flaws soon enough, but for now I want to focus on what it does right.

The first thing the game nails is the Hardy Boys. Their inclusion, their plot, their characterization, the voice acting — all of it is nigh-flawless, and is by far the most enjoyable part of the game. Don’t get me wrong, the Hardy Boys are usually quite far up there on the list of things I love about a game with them in it, but they really start to shine more in TOT, gaining some character development, plot relevance, and just overall depth.

Oddly (or perhaps not oddly at all) I don’t have a favorite moment nor a favorite puzzle in this game; barring that, I’ll talk about some of the great threads to the game, rather than any particular moment/puzzle that stands out.

I love that we get new and interesting layers to our story and characters. As I mentioned briefly above, there’s a real sense of the world existing before Nancy’s arrival, which works wonders for the world of the games, and our characters here are more layered, more distinct, and more ‘realistic’ (for the value of ‘realism’ in stories) than they ever have been before.

This is a game unafraid to deal with the topics of death and mistakes, and that accounts for part of the depth to the game as well. No, not the whole “Where’s Ma” thing — which I fully believe to just be a script that didn’t fire/didn’t stop firing in the game’s code after finding the newspaper that says exactly what happened to Ma — I’m talking about Scott’s mistake in the tornado warning system, Debbie and Frosty’s mistakes in dealing with Scott (which I’ll talk more about), and even Brooke’s miscalculations that lead to the ending of the game. Everyone here deals with the fallout of their mistakes, and it’s how they handle it that forms the basis for our plot.

It’s a seemingly small thing, but I love the sheer level of detail in this game. You can click on everything, read everything, explore everywhere — there’s a lot of information crammed into the game that sometimes you won’t get until the second or third replay (that is, if you have the stomach to play through this game repeatedly).

The use of our tertiary NPCs (Brooke, Krolmeister, Erin) is also inspired; they help the world feel whole and varied rather than existing simply for the benefit of the game, and show that Nancy doesn’t have control over everything when she’s investigating — and that she can be wrong in her focus of investigating (whether because she pays too much or not enough attention to the ‘minor’ characters).

Speaking of characters, I also love that our characters in this game – our suspects — are able to be fully formed without (on purpose, I feel) being particularly likable. It’s always fun to get a cast of characters that are hostile to Nancy, but TOT’s characters are slightly different from that: they just don’t care about her. She’s another intern to them, nigh-invisible except when they need a chore done. Nancy also doesn’t really try to befriend anyone because of it, and I like that too. Sometimes, a game should just be 1 vs 4, with some backup in the wings courtesy of phone friends.

The last facet of the game that I love is Scott himself as a character. Sure he’s cantankerous, blunt, egotistical, and a thousand other things, but the game is very clear that these ‘faults’ don’t make him anything other than what he is — a brilliant meteorologist and the foremost mind when it comes to tornadoes and tornadogenesis. The university undervalues him, but the team really can’t function without him, sabotage or no sabotage.

His motive for the sabotage isn’t the money nor fame — it’s simple tit-for-tat. For such a complex game (note, I’m still not saying it’s a fun or good game), our ultimate motive is deceptively simple: do unto others what they have done unto you. Tired of being devalued and having his worth judged on his personality rather than his work, he decides that if the university doesn’t care enough to keep him around (and for his worth as a professor, look at how accomplished and passionate his team of former students is), then they don’t care to keep up their program either.

It’s hard not to sympathize with that, especially if you’re the kind of person who’s been valued based on any defects in your personality — rather than your ability to do a job and do it well — and been found wanting. Whether you’re too serious (or not serious enough), too flighty (or too inflexible), or any other stupid “personality defect” that the workforce loves to throw around, we’ve all heard it before. Scott’s thrown into an unfair situation and — wrongly or not — decides that his troubles are going to have trouble with him.

The last thing I’ll add on the topic of Scott for this section is that I do love that Debbie and Frosty create their own villain. In figuring that Scott’s personality is going to prevent them from getting the grant (never mind the 4 other years that Debbie’s been on this team with him where it hasn’t been a problem), they decide to screw him over presumptively — and thus create a Scott who actually does want to prevent them from getting the grant. It’s usually a mark of a solid story (and solid writing in general) where the villain is created not from some problem inherent in them, but because they’re perceived to be a problem in the future — and thus live down to the expectation.

The Un-Favorite:

The problem with everything TOT does right — and that’s nearly a thousand words about what it does right above — is that it never combines to make a game that’s enjoyable to play. Before I go into the specifics, I do want to make that clear; TOT is a fascinating game to think and write about, but it’s honestly nigh-unplayable. The puzzles and chores are laborious (and repeated ad nauseum), pieces of the plot don’t make sense, and the ending is the bleakest in the series until GTH’s multiple endings took the cake.

A game should be well-written, complex, and interesting, but it just has to be fun to play as well. It has to. And that seems to have been forgotten during the course of making TOT. My least favorite moment is the ending of the game (more on that below), but I don’t have a least favorite puzzle — on the basis that most of the puzzles are equally bad. There’s no real standout…but that’s not a good thing.

Now let’s get into some of the bits and parts of the game that I really despise.

The handling of Scott is one of my favorite parts of the game, but it’s also my least favorite part of the game as well. They’ve set up a character who firmly believes that everything ends poorly, that he’ll never profit no matter what, and that, ultimately, no matter how hard he tries, nothing will go the way it should. And then the game confirms that worldview to the end. There’s no other option; no matter what Scott does or doesn’t do, no matter if he tries his best or blows it off, the end result is the same, and that’s a tragedy. Sure, you can argue it’s his actions that led him to a bad ending, but he only took those actions because he was heading to a bad ending anyway.

The feeling you get at the end of the game isn’t a feeling of justice served, nor success — it’s pity in a way that’s never been cultivated for any criminal up to this point in the series. And it’s not cathartic — it’s just more misery.

The other huge thing that I hate about this game ties into it — there really is no justice. The supposed ‘happy ending’ is Debbie getting people from both teams to ‘win’ the grant (where does it ultimately go — Canute or Kingston? Can it count as winning if there’s only one team? HER certainly didn’t bother to think about these things)…but Debbie’s hands are just as filthy — and I think more so — than Scott’s are.

Debbie leads Frosty in conspiring to make Scott quit and actually created their own monster — does she even know Scott at all? He’s lead a team through at least the last 4 years, probably more, and not had a problem; why now? Power? Greed? Pride? Whichever way you spin it, she and Frosty are guilty.

Frosty and Erin (of the Kingston Team) are also guilty on a separate charge; Erin for buying the footage and Frosty for selling it. If Brooke and Scott are kicked off, Frosty and Erin (at least) should also go for the same conspiracy charge. Everyone on the team (excepting possibly Chase) knowingly sabotaged their team; why is Scott the only one punished? Why does Debbie (and Frosty, and Erin) get off scot-free (pun intended) to win the prize, despite everything?

When I say that there’s no justice nor success here, this is what I mean. The whole thing stinks from top to bottom, and any way you look at it, a culprit walks.

Honestly, the ending should have just been “Chase, guilty only of petty theft, led the team (of himself and Pa) and was given the grant, which they donated to a charity for tornado victims”. Kingston actively cheated and Canute doesn’t deserve it either. In a game where everyone deserves to lose, declaring a winner just leaves a bad taste in my mouth — and a black mark on the game.

The Fix:

So how would I fix Trail of the Twister?

My feeling is that if you’re going to go with a downer ending — which TOT is — then go for a full one. Have Nancy discover everyone’s crimes — and I do mean everyone’s — and report to Krolmeister, asking what he wants her to do. Don’t forget, Nancy’s got an actual client in this game, and can’t go off half-cocked like she tends to in her more informal mysteries.

In the end, as nearly everyone would be disqualified, the competition should go to a third party — a storm chasing team that’s not Kingston nor Canute — and create chances for less corrupt institutions to study tornadoes at a level they haven’t been able to before. Sure, our suspects would lose, but, honestly, outside Chase…does anyone deserve to win?

I’d also be a fan of Scott getting a second chance due to outside sabotage (directed solely at him) with a job opportunity to consult for storm chasers. It’d be an arena where he’d be seen as the expert he is, without having to deal with the namby-pamby bureaucracy that infects universities (and that he hates anyway). He’d get the name recognition and the ability to actually do work in his field that he needs without being put in situations where he can’t help but fail. Honestly, I’d prefer that P. G. Krolmeister offered it (while saying he’s going to be keeping an eye on him), but really anything would do.

Exposing the crimes of everyone – and focusing on more than just Scott’s — would be the quickest way to improve the story of the game. The puzzles, on the other hand, need to be completely redone; a mix of ostensibly tornado-related intern-type chores (like the circuit boards) and more detective-type puzzles (fingerprinting suspects for a match on the tin bribe box, tracking everyone’s movements, solving codes used for communication) would be a big help in making TOT not just feel like a list of chores with a bad ending.

Oh, and fix the broken code leading Nancy to ask about a man’s dead wife over and over again. She lacks tact as it is.

#nancy drew #clue crew #nancy drew games #trail of the twister #nancy drew meta #my meta #TOT #video games #long post

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msmeiriona · 3 years ago

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Facts about Inri time.

Why does she have pink hair? A: I like pink hair. B:She likes pink hair. and C: She dyes it.

She doesn’t remember very clearly the events between Azura’s Curse and the end of the First Era. It took her a long time to get used to her new body, and longer still to truly reclaim it.

Part of that process was developing the perfect formula for dyeing her hair. Part of it was the long, painful, and expensive process of getting the blue-violet tattoos that cover a large portion of her body.

Inri is an absolute baby when it comes to pain. She sedated herself before every one of the many sessions the tattooing took, and none of them were long.

She can read and write fluently in both Aldmeris and Ald Chimeris, but speaks Aldmeris with the pronunciation and inflections of someone who has never heard it spoken properly, and the grammar of an academic. She slips into Ald Chimeris on occasion even into the 4th era, which confuses her staff, even if all are fluent in Dunmeris.

Her Cyrodilic is absolutely archaic, and always carries a heavy Vvardenfell accent. She continues to refer to the Empire derisively as “The Septim Conceit” and only speaks Cyrodilic if all other methods fail. She reads and writes it just fine, and has no problem keeping records or correspondences in the language, but always pronounces the words as if they leave a foul taste in her mouth.

As previously mentioned, she is absolutely addicted to ash yams. They make up the majority of her diet that isn’t potions.

If you cut her, she will bleed potion. Maybe not literally, but close to it. She has lost track of the amount of potions running through at once, but it adds up to the potions she makes for herself lasting for years at a time.

Born under the sign of The Lady, she is able to at least appear to be caring and understanding to just about anyone, and to keep from showing signs of stress, particularly in social situations.

Specialized in Alchemy, Alteration, Restoration and Mysticism growing up. By the end of the Second Era, she’d moved on to work that required social manipulation to a large degree, despite being entirely bored with the House politics. While preferring to work unarmored, she will use light armor if the occasion requires.

Weapons are always a last thought, she’d rather use an elemental shield and let her enemy kill themself. If pressed, a dagger is always useful to keep at hand.

#Inri #Skyrim #OC facts

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hatari-translations · 4 years ago

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Eurovision Song Contest: The Story of Fire Saga - Icelandic review

Eurovision Song Contest: The Story of Fire Saga is a Netflix-produced affectionate parody film about Eurovision starring Will Ferrell and Rachel McAdams. This wouldn't qualify it for coverage on this blog by itself - but as it happens, the main characters are Icelandic, Icelandic is spoken in it, and a significant portion of the film takes place in Iceland. So I think it's close enough to being of interest to readers of this blog!

As a film, my feelings on it were mixed - the Eurovision parodies were incredibly spot-on, I liked Dan Stevens' character and the amount of Eurovision cameos, and it definitely had some pretty funny moments - but it was far longer than it needed to be and wildly inconsistent in tone, flitting between utter ridiculousness and emotional melodrama played completely straight. However, this won't be a review of the film - instead, I'll be going over the portrayal of Iceland and its culture and language and sprinkling in some related trivia.

The Icelandic Opening

The film opens with a montage and a song that the subtitles identify as an "Icelandic folk song". The song is Sá ég spóa, which is indeed a genuine Icelandic folk song. The lyrics of the song go:

Sá ég spóa suður í flóa, syngur lóa úti í móa, bí bí bí bí, vorið er komið víst á ný

which translates to:

I saw a whimbrel in the bay to the south, a plover sings in the dry grassland, cheep cheep cheep cheep, spring is surely here again

The song references the common folk belief that the migratory European golden plover brings spring with it; we still have newspaper headlines when the first plover is spotted (or heard) every spring. The song is largely notable for being suitable for canon singing, which unfortunately can't be heard well in the movie, since the most audible part is the beginning, and the song kind of fades out before the other voices come in. I think this YouTube video is the same recording the movie uses, only you can hear all of it properly!

From there, the first chunk of the movie takes place in Iceland, in both the capital Reykjavík and Húsavík, a town in northern Iceland (the Húsavík scenes were genuinely filmed there). These scenes feature Icelandic extras and some actual spoken Icelandic, with English subtitles. Their lines are grammatically accurate and natural, clearly translated by a native speaker; however, when you're actually Icelandic, it's incredibly obvious that Pierce Brosnan (playing the main character's father) does not actually know the language. He tries, but it's only kind of intelligible, and when he's surrounded by actually Icelandic extras and the film wholly acts like he's just another one of them, it's pretty glaring.

The Names

The first really major issue to tackle about this movie is the character names.

The main characters are named Lars Erickssong and Sigrit Ericksdóttir. First of all, I understand that "Erickssong" is meant to be a pun because he's a musician - but it simply makes no sense to make a pun like this, any more than it would make any sense as a joke in English to consistently refer to somebody as someone's song instead of their son. You can absolutely make up punny Icelandic patronyms - but the part you make the pun out of has to be the name part, not the son/dóttir part, or it just doesn't register as a name at all.

But let's put that aside. Lars is an accepted first name in Iceland - but Sigrit is not, nor is Erick, and Lars is not a common name - it's pretty distinctly foreign-sounding. In general, nearly all of the Icelandic characters' names are not actual Icelandic names, and don't sound like they might be Icelandic names, either.

You might say, well, this is a comedy film, it's not supposed to be accurate. And there is some truth to that, sure. But the thing is that most of the names used in the movie aren't really humourous or systematically inaccurate in a deliberate-seeming way. Instead, they largely just sound like they're playing to your average American's idea of what generic Scandinavian names sound like, but with patronymic suffixes slapped on, and I expect the primary American audience would assume these are realistic Icelandic names.

This is unfortunate, because Icelandic names broadly really don't sound like generic Scandinavian names! We have a different alphabet from our Nordic neighbors: in particular, we don't have the letter c. And the overall sound of Icelandic is pretty different, such that the names in this movie sound distinctly foreign to us. The actual Icelandic equivalent to Sigrit Ericksdóttir would be something like Sigríður Eiríksdóttir, and in fact some of the Icelandic extras just went ahead and pronounced her last name "Eiríksdóttir". Naming her Sigrit Ericksdóttir instead isn't a joke; it's just inaccurate, and I don't think the film being a comedy really excuses stubbornly insisting on not doing the research here, especially when you involve a bunch of Icelanders who would definitely have pointed this out.

Húsavík and On-Screen Text

While Húsavík is a real place, the way it's pronounced and spelled is all over the place. I think the subtitles sometimes included the accents and sometimes not; on-screen text usually didn't include accents. It's important to note that u and ú are two different letters in Icelandic, pronounced differently; not using the accent is wrong, so although not including accents is acceptable for regular people typing in a medium where it'd be difficult or tedious to use them, on-screen text does not really have any excuse, especially in a movie that significantly takes place in Iceland rather than simply being a throwaway scene; they have plenty of time to spell the words correctly.

It's also a little frustrating that Húsavík is actually pretty easy to pronounce for English-speakers! It's just HOO-sah-veek - no sounds that don't exist in English at all. Despite this, the last syllable gets pronounced 'vick' sometimes, and in the song during the climax, Rachel McAdams' Swedish singing double Molly Sandén makes it sound Swedish and like it actually has a u instead of an ú.

Elves and Folklore

Elves are a plot point in the movie, with Sigrit being a true believer in elves but Lars not. She leaves food at a little 'dollhouse' built into a hill while asking the elves for favors. Needless to say, this is a comedic element, and the way it's used is pretty fun - nonetheless, however, I feel obliged to say that no, Icelanders do not do this. Even the true believers (who are few and far between) don't leave them offerings or pray to them for favors - and in Icelandic folklore, elves are not tiny! They're thought to live in actual rocks - no little houses necessary - and they're pretty intimidating and vengeful as described in folklore; if you were to give them offerings or ask them anything, it'd be more along the lines of pleading with them to please tolerate something you're about to do without taking bloody vengeance on you, not asking them to do something nice for you.

(The movie's use of elves was actually ultimately more accurate than it seemed; I won't spoil the details, but it's pretty good.)

Another plot point involves Sigrit's inability to sing a "speorg note", which is stated to be from Icelandic folklore. There is no such folklore, "speorg" would actually be pronounced spee-org with a hard g if it were an Icelandic word, and the way they're pronouncing it is once again something that sounds more vaguely Swedish than like Icelandic of any kind. Obviously this is a pure joke concept not to be taken very seriously.

The Problem With Winning

A major plot point in the movie is a businessman, "Victor Karlosson", who points out early in the film that if Iceland won Eurovision, it'd practically bankrupt the country. This is a genuine concern that Icelanders talk about any time we seem to have a chance of doing well. However, that scene also features someone suggesting hosting the contest in Keflavík, a town about 45 minutes outside of Reykjavík, which causes him to respond that a town of 15,000 wouldn't be able to do that. The joke here is obviously meant to be that hosting it in such a small town (actually pretty big on an Icelandic scale) is especially obviously absurd. However, I'm pretty sure I remember it being actually seriously suggested that if we won Eurovision we might have to host it in one of the aircraft hangars at the US army base that used to be in (near) Keflavík! We don't actually have any Eurovision-sized stadiums in the country, so that was legitimately one of the more realistic possibilities.

Perceptions of the Contest in Iceland

In the movie, while Lars is absolutely obsessed with Eurovision, this is implied to be pretty weird. There's a recurring joke of nobody wanting to hear Eurovision songs, and a lengthy scene in a Húsavík bar where the TV is showing a football game and one of the inhabitants makes an impassioned speech about how they should switch to Eurovision to see Iceland's entry because the contestants are from Húsavík! This is pretty hilarious, because man, Icelanders who don't like Eurovision have a hard time getting away from it when it's on! Potentially you might have a bar making a point of showing something else on Eurovision night and advertising itself specifically to Eurovision-haters, but the idea of no one in a full bar of random Icelanders wanting to watch Eurovision, especially when Iceland is competing, is pretty absurd. We're obsessed with this contest!

The bit where the teenage boy who plays drums in their band doesn't accompany them abroad because "my friends think the song contest is for losers" is valid, though; I can absolutely believe in a friend group of musically-inclined teenagers who think it's trash and they're too cool for it.

A Song in Icelandic Would Never Win

Sigrit says before the Icelandic semifinal that she wishes she could sing in Icelandic, and Lars counters by saying a song in Icelandic would never win. It's true that after Eurovision dropped the rule about all contestants singing in one of their country's official languages, most of Iceland's Eurovision entries have been in English, largely because of the perception that nobody will understand Icelandic lyrics ("Hatrið mun sigra" was only the second entry to be in Icelandic since the change).

However, a lot of songs are still sung in Icelandic in the Icelandic contest - in fact, the last couple years have required it! So technically this should not have stopped the characters from singing in Icelandic there and just translating it to English for the main event. This is a minor nitpick, though, and can be considered merely one of the many pieces of artistic license taken with the contest rules in the movie.

"Semen and Garfunkel"

There is a scene where Lars tells Sigrit that romance ruins bands, and he lists off a few supposed examples, including "Semen and Garfunkel". This probably seems like a really weird, random joke to everyone else, but it's actually kind of enjoyable when you do know Icelandic, because the Icelandic equivalent of the name Simon, Símon, is actually pronounced very similarly to "semen". It's a joke about them being Icelandic and therefore pronouncing his name that way, only probably nobody outside of Iceland would actually get it. I enjoy this.

Some Transcripts/Translations

There are a couple of pieces of unsubtitled Icelandic in the film. At the end of Ólafur Darri Ólafsson presenting the points from the Icelandic jury in the semifinal (yes, they have public jury points in the semifinal; another one of those bits of artistic license), after he says thanks, he adds in Icelandic: "Takk fyrir. Fyrirgefið þið aftur." This just means "Thanks. Sorry again [about the technical mishaps during Iceland's entry]."

During the climax of the film, Sigrit sings a song about her hometown, which has a couple of lines of Icelandic in the chorus. Our initial reaction to the [sings in Icelandic] subtitle was actually "Thaaaaat's not Icelandic," but when the chorus came on again I just about managed to make out that yes, it was in fact supposed to be Icelandic, which Molly Sandén was just pronouncing in a pretty Swedish way. The main line goes "Eina sem ég þrái er að vera með þér í Húsavík," or "only thing I long for is to be with you in Húsavík." There is another line after that, but I can't make out what she's trying to sing there at all, even after going back and rewinding it a few times.

License Plate Trivia

This is only barely relevant, but the license plate on Fire Saga's Eurovision tour bus is R 373. This is one of the old-fashioned black license plates that were in use before 1987; the R stands for Reykjavík, as license plate numbers were allocated by county. In 1987, we switched to white license plates independent of county with two letters followed by three numbers; later, when they ran out of numbers, it was tweaked so that the first number slot could also be a letter. However, some cars that had the old license plates are still on the roads today. I can't imagine why they'd put an old license plate on the bus unless it's genuinely just an old Icelandic bus with pre-1987 license plates.

The Reaction

The most realistic portrayal of Iceland in this movie is when Lars and Sigrit return from Eurovision to a crowd of extremely enthusiastic people waving Icelandic flags. Icelanders who accomplish anything cool abroad tend to be treated as heroes on their return; when our handball team won a silver at the Olympics, there was a whole sea of people and a ceremony to welcome them back, and they were all awarded with the Order of the Falcon. This is absolutely what Icelanders would do, accurate Iceland, A+.

#eurovision the story of fire saga #will ferrell #iceland #icelandic #icelandic names

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twentiethcenturymoviesandtv · 4 years ago

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The Princess Bride: The Characters, Part 1: Introduction, Westley, and Buttercup

As easy as it might seem, as it turns out, writing a fairy-tale for the screen can be rather challenging, especially in terms of what might seem to be the ‘easiest’ part: the characters.

In most legends and fairy tales, characters aren’t really people, they’re archetypes, designed to be described in one word so that the audience understands immediately everything they need to about the character: the Knight, the Princess, the Dragon: clearly divided into ‘good vs. evil’. From a scriptwriting perspective, or indeed, a writing perspective in general, this is a terrible idea.

When the story you’re writing is focused less on the characters and more on the plot, you can run the risk of making your audience not care about the characters themselves. By focusing your emphasis on what the characters are doing, instead of who they are, you remove the main thrust of most stories: character growth, and turn it into something else: good vs. evil, heroes vs. villains. In most fairy tales, there really isn’t a lot of variety or development built into the characters involved, since the characters more or less exist to give the audience someone to root for, someone to root against, and, most importantly: to move the plot forward.

While not impossible, the fact is, it’s very tricky to make your characters true fantasy generic ‘archetypes’ and still create genuinely interesting characters. The Wizard of Oz managed it by infusing a few twists, such as a protagonist from the ‘real world’. Ladyhawke told the story not as a fairy-tale, but as normal people trapped under a fairy-tale curse.

At first glance, it seems like The Princess Bride didn’t do either, and instead, did what seems like one of the worst ideas: played it straight.

The Princess Bride seems to delight in its use of traditional fantasy archetypes: the damsel, the evil prince, the hero, the wizard, true love, etc. Instead of subverting these tropes or twisting them in some way, The Princess Bride embraces the simple ideas that these characters are founded upon, and proceeds to use the tropes as a playground, fully using the fantasy archetypes to craft a story that somehow manages to keep these ‘blank slate’ characters fresh, interesting, and unique, despite their clear fairy-tale blueprint.

Today, we’re going to be taking a look at these traditional fantasy characters, starting, of course, with our Hero: Westley. Spoilers below!

Westley doesn’t quite fit the mold of your typical ‘fantasy hero’ right off the bat: he’s no knight in shining armor, that’s for sure. There’s little of the Luke Skywalker ‘white knight’ to be found in the character of Westley, rather, he actually fits the bill of a different kind of fantasy hero: the swashbuckler.

Cary Elwes’s portrayal of Westley actually has a lot more in common with Errol Flynn’s performance as Robin Hood from The Adventure of Robin Hood in 1938, as well as a healthy dash of various portrayals of the character of Zorro. (Elwes would actually go on to play a parody of Flynn’s Robin Hood in the film Robin Hood: Men in Tights in 1993.) He’s the Ace, stronger than the film’s giant, more skilled than the Spanish swordsman, and more intelligent than the leader of the band of kidnappers who dared to abduct his true love. Cary Elwes portrayed the hero of The Princess Bride as dashing in an old-fashioned, ‘30s movie-serial kind of way with a wit sharper than his sword. Westley is intelligent, cool-as-ice, and formidable, but above all, he’s also dedicated to the love of his life, and funny to boot. Much like Errol Flynn’s Robin Hood, Westley possesses an incredible audacity and humor that allows him to fence with focus and a quick-quip for each strike.

All of this makes Westley an engaging character to watch, but there are a few elements about his character that actually allow him to delve a little deeper than a simple surface swashbuckler.

Starting with the duality of the character.

For all of The Princess Bride’s straightforward fairy-tale nature, there’s actually a fair amount of subversion and deception on the part of many characters, and Westley is no exception.

When we first meet Westley, when he’s first described at the very beginning of the story, he is a simple Farm-boy, a traditional fantasy-figure. He isn’t given much screen time, or much personality, for that matter: we know very little about him besides the fact that he is very much in love with Buttercup, and demonstrates it with the phrase ‘as you wish’. Still, what little we do see of him doesn’t seem to indicate any piracy tendencies, or even much in ‘adventurer’. He’s a poor, simple farm kid, and we know just enough about him to feel sorry when he is apparently killed by the Dread Pirate Roberts.

When Westley reappears as the Man in Black, under the alias of the Dread Pirate Roberts, it throws the audience and Buttercup for a loop.

Westley’s character post return is best characterized by being the Master of All: good at everything, smart, funny, witty to boot, with a “Dark is Not Evil” color palette. He’s the Guile Hero, the Knight to Buttercup’s Lady, possessing Nerves of Steel, becoming a Living Legend, a Legacy Character by taking on the name of the Dread Pirate Roberts.

Westley is, for all intents and purposes, supposed to be our main protagonist. After all, he gets the girl at the end, he’s the hero, the leader, the best at everything. He’s gotta be the main character, the laws of fantasy and fairy-tales dictate it!

And yet, he doesn’t exactly fulfill the role of the protagonist in a usual way.

Early on, the audience, and Buttercup, is led to believe that he’s dead, right after he makes the very Fantasy Protagonist decision to leave his farm and seek adventure. After this change, the story’s perspective, which was already focused on Buttercup to begin with, fixes on her entirely. The audience has no other ties to any other characters, so they happily follow Buttercup throughout the story, as she’s engaged, kidnapped, and rescued by another kidnapper: Westley in disguise.

At this point, our apparent protagonist, who, in personality and position within the story, is everything a fairy-tale protagonist should be, now takes a center position. It is here that the story’s focus shifts again, splitting between the two characters, and even adding one more: Inigo Montoya (I’ll get to him in a minute). Later, Westley is even killed, again sitting out a large portion of the action, and even when he is revived, he is weakened to the point where he can’t engage in a climactic finale, rather just intimidating Prince Humperdinck into defeat. He doesn’t manage to actually participate in a fight at all, just coming up with the plan in order to get into the castle in the first place.

No, the action is instead left to Inigo. (Again, more on him in a minute.)

Oddly enough, Westley spends most of the film out of commission, or not directly involved in the action. He doesn’t propel the story forward, and he doesn’t even manage to take part in a final climactic battle. Except for his personality traits, he doesn’t really seem like he belongs in the part of the protagonist.

If it weren’t for our ‘criteria question’, it seems very unlikely that he’d even be considered the protagonist in the first place.

Like I’ve said before: Every protagonist should have a problem, preferably a problem pertaining to the plot, and in the case of Westley, that problem seems pretty simple: he’s been separated from his true love, Buttercup.

Typically in stories, the protagonist is the character who faces the central challenges and conflicts within the story. They are the character with the main goal that ties into the main story. It is they who are chiefly inconvenienced by the antagonist’s actions, actions that directly interfere with the protagonist’s attempts to achieve their goals. It is the protagonist that makes choices that lead to major, plot-important consequences, and it is the protagonist that undergoes a transformation of beliefs and personality, growth, as a result of the events of the story. In other words, you can determine who the main character of your story is by determining whose story it is.

And in the case of The Princess Bride? Westley is the one who makes the decision to pursue his fortune, who searches for Buttercup, which seems to place him pretty firmly in the position of the protagonist. He does grow from simple farm boy to pirate hero by the end of the story, and Humperdinck’s actions seem to directly get in the way of his goals.

In fact, it seems like Humperdinck’s actions seem to affect him the most drastically out of every character in the story: except for Buttercup herself.

Buttercup is the Lady, the quintessential Damsel in Distress that’s necessary in fantasy stories. She represents an ideal, the ‘fairy-tale’ fairest-in-all-the-land archetype that so many stories seem to require, and, on a first viewing, it seems like that’s…all she is.

Buttercup doesn’t seem to possess the remarkable amount of personality that the rest of the cast seems to be overflowing with. She’s not particularly funny, or smart, or strong, and she doesn’t have any greatly interesting lines or moments. She’s very bland, actually, and doesn’t seem to do a whole lot of active action throughout the story.

Unlike Dorothy of The Wizard of Oz, Buttercup doesn’t do a lot to get herself out of her various circumstances. She seems to do nothing but occupy the Neutral Female role: a series of Job Titles. Even the name of the film is her title: The Princess Bride. Despite this, she is presented as a Decoy Protagonist Ice Queen, early on in the story, as she falls in love with Westley and he leaves, only to be slain on the high seas.

From that point on, Buttercup declares that she will never love again, and proceeds to be passed around for the rest of the story: chosen to be Humperdinck’s bride, abducted by Vizzini and his gang to be used to start a war, pursued as a piece of stolen property by Westley, before she is recaptured by Humperdinck once more, where she decides to wait for Westley to come get her again, attempting to kill herself when he doesn’t at first, which, admittedly, is the only choice she has left to her by then.

There are a few escape attempts, and Buttercup does manage to push Westley (who she thinks is the Dread Pirate Roberts) down a hill, but overall, aside from a few ‘Reason You Suck Speeches’ aimed at Humperdinck and a deal she makes with him to spare Westley’s life if they surrender (which he ignores), Buttercup is a passive character. Her life is entirely out of her hands, and the choices that she does make hold no lasting consequences on the plot at large.

Despite the fact that Buttercup receives quite a bit of focus, it really doesn’t seem like she fits the ‘protagonist’ bill. After all, protagonists have to make choices, and although Buttercup does have a plot-relevant problem (she thinks her true love is dead, and she is being forced to marry someone she doesn’t love, who’s a murderer to boot), she doesn’t do much about it, instead getting passed around like a fancy lampstand. Much like ‘The Maltese Falcon’, she is almost a MacGuffin, an object that propels the story along because everyone is after it/her.

But…perhaps I’m being a bit too hard on her.

After all, Humperdinck’s plans to marry Buttercup and then kill her have the most to do with interfering with Buttercup herself, not Westley.

Throughout the story, Buttercup is the focus of both Westley and Humperdinck, (the main antagonist) and it is her life that is in danger for the duration of the movie. She is at the center, the heart of the story by being Westley’s true love, and in a sense, the story and the events are hers. She is, after all, the Princess Bride, and she too grows: defrosting from her cold nature and allowing herself to feel hope and love again by the end.

With this line of logic, it seems like the two lovers almost ‘split’ the role of protagonist between them. But even with this central role divided between the two romantic leads of the story, there are still gaps left: huge chunks of decision making, plot-driving, and growth to be done, with no characters available to do so. With Westley imprisoned, absent, or Mostly Dead and Buttercup captured, who is left to move the story forward?

Thankfully, The Princess Bride has no shortage of supporting characters. It’s time to talk about Inigo Montoya.

(Join us next time for Part 2: Inigo Montoya, Fezzik, the villains, and the conclusion!)

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